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+The Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: John Baptist Jackson
+       18th-Century Master of the Color Woodcut
+
+Author: Jacob Kainen
+
+Release Date: August 7, 2007 [EBook #22263]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK JOHN BAPTIST JACKSON ***
+
+
+
+
+Produced by Louise Hope, Chris Curnow, Joseph Cooper and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+  [Transcriber’s Note:
+
+  This text uses utf-8 (unicode) file encoding. If the apostrophes and
+  quotation marks in this paragraph appear as garbage, make sure your
+  text reader’s “character set” or “file encoding” is set to Unicode
+  (UTF-8). You may also need to change the default font. As a last
+  resort, use the ASCII version of the file instead.
+
+  Details about the “Inscriptions” in the “Prints by Jackson” section
+  of catalog are given at the beginning of that section.]
+
+
+
+
+  SMITHSONIAN INSTITUTION
+  UNITED STATES NATIONAL MUSEUM
+
+    [Illustration:
+    Smithsonian symbol]
+
+  BULLETIN 222
+  WASHINGTON, D.C.
+  1962
+
+
+
+
+  United States Government Printing Office, Washington, 1962
+
+  For sale by the Superintendent of Documents,
+  U.S. Government Printing Office
+
+  Washington 25, D.C.
+
+
+
+
+            _John Baptist Jackson:_
+
+              18th-Century Master
+              of the Color Woodcut
+
+
+
+                 _Jacob Kainen_
+
+            Curator of Graphic Arts
+        Museum of History and Technology
+
+
+
+
+_Publications of the United States National Museum_
+
+
+The scholarly publications of the United States National Museum include
+two series, _Proceedings of the United States National Museum_ and
+_United States National Museum Bulletin_.
+
+In these series are published original articles and monographs dealing
+with the collections and work of the Museum and setting forth newly
+acquired facts in the fields of Anthropology, Biology, History, Geology,
+and Technology. Copies of each publication are distributed to libraries
+and scientific organizations and to specialists and others interested in
+the different subjects.
+
+The _Proceedings_, begun in 1878, are intended for the publication in
+separate form, of shorter papers. These are gathered in volumes, octavo
+in size, with the publication date of each paper recorded in the table
+of contents of the volume.
+
+In the _Bulletin_ series, the first of which was issued in 1875, appear
+longer, separate publications consisting of monographs (occasionally in
+several parts) and volumes in which are collected works on related
+subjects. _Bulletins_ are either octavo or quarto in size, depending on
+the needs of the presentation. Since 1902 papers relating to the
+botanical collections of the Museum have been published in the
+_Bulletin_ series under the heading _Contributions from the United
+States National Herbarium_.
+
+This work forms number 222 of the _Bulletin_ series.
+
+  REMINGTON KELLOGG
+
+  _Director, United States National Museum_
+
+
+
+
+CONTENTS
+
+                                                          _Page_
+
+  _Preface_                                                  IX
+  Jackson and his Tradition                                   3
+    _The Woodcut Tradition_                                   4
+    _Status of the Woodcut_                                   7
+    _The Chiaroscuro Tradition_                               9
+  Jackson and his Work                                       13
+    _England: Obscure Beginnings_                            14
+    _Paris: Perfection of a Craft_                           17
+    _Venice: The Heroic Effort_                              25
+    _England Again: The Wallpaper Venture_                   40
+  _Critical Opinion_                                         51
+  _Postscript_                                               54
+  Catalog                                                    69
+    _Prints by Jackson_                                      71
+    _Jackson’s Workshop_                                     90
+    _Unverified Subjects_                                    95
+  The Chiaroscuros and Color Woodcuts                        97
+  _Bibliography_                                            171
+  _Index to Plates_                                         177
+  _Index_                                                   181
+
+
+
+
+_PREFACE_
+
+
+John Baptist Jackson has received little recognition as an artist. This
+is not surprising if we remember that originality in a woodcutter was
+not considered a virtue until quite recently. We can now see that he was
+more important than earlier critics had realized. He was the most
+adventurous and ambitious of earlier woodcutters and a trailblazer in
+turning his art resolutely in the direction of polychrome.
+
+To 19th century writers on art, from whom we have inherited the bulk of
+standard catalogs, lexicons, and histories-- along with their
+judgments-- Jackson’s work seemed less a break with tradition than a
+corruption of it. His chiaroscuro woodcuts (prints from a succession of
+woodblocks composing a single subject in monochrome light and shade)
+were invariably compared with those of the 16th century Italians and
+were usually found wanting. The exasperated tone of many critics may
+have been the result of an uneasy feeling that he was being judged by
+the wrong standards. The purpose of this monograph, aside from providing
+the first full-length study of Jackson and his prints, is to examine
+these standards. The traditions of the woodcut and the color print will
+therefore receive more attention than might be expected, but I feel that
+such treatment is essential if we are to appreciate Jackson’s
+contribution, in which technical innovation is a major element.
+
+Short accounts of Jackson have appeared in almost all standard
+dictionaries of painters and engravers and in numerous historical
+surveys, but these have been based upon meager evidence. A fraction of
+his work was usually known and details of his life were, and still are,
+sparse. Later writers interpreting the comments of their predecessors
+have repeated as fact much that was conjecture. The picture of Jackson
+that has come down to us, therefore, is unclear and fragmentary.
+
+If he does not emerge from this study completely accounted for from
+birth to death, it has not been because of lack of effort. Biographical
+data for his early and late life-- about fifty years in all-- are almost
+entirely missing despite years of diligent search. As a man he remains a
+shadowy figure. I have traced Jackson’s life as far as the available
+evidence will permit, quoting from the writings of the artist and his
+contemporaries at some length to convey an essential flavor, but I have
+refrained from filling in gaps by straining at conjecture.
+
+While details of his life are vague, sufficient information is at hand
+to reconstruct his personality clearly enough. After all, Jackson wrote
+a book and was quoted at length in another. A contemporary
+fellow-practitioner wrote about him with considerable feeling. These and
+other sources give a good indication of the artist’s character.
+
+The man we have to deal with had something excessive about him; he was
+headstrong, tactless, impractical, enormously energetic, a prodigious
+worker, a conceiver of grandiose projects, and a relentless hunter of
+patrons. He was at home with his social superiors and had some
+pretentions to literary culture, he had a coarse gift for the vivid
+phrase in writing, and his tastes in art ran to the classic and heroic.
+
+This study includes an illustrated catalog of Jackson’s chiaroscuros and
+color prints. Previous catalogs, notably those of Nagler, Le Blanc, and
+Heller, have listed no more than twenty-five works. The present catalog
+more than triples this number.
+
+To acknowledge fully the assistance given by museum curators,
+librarians, archivists, and scholars on both sides of the Atlantic would
+necessitate a very long list of names. However, I wish especially to
+thank Mr. Peter A. Wick of the Museum of Fine Arts, Boston, who has been
+generous enough to allow me to read his well-documented paper on
+Jackson’s Ricci prints; Mr. A. Hyatt Mayor of the Metropolitan Museum of
+Art; Mr. Carl Zigrosser of the Philadelphia Museum of Art; Miss Anna
+C. Hoyt and Mrs. Anne B. Freedberg of the Museum of Fine Arts, Boston;
+Dr. Jakob Rosenberg and Miss Ruth S. Magurn of the Fogg Art Museum; Mr.
+Karl Kup of the New York Public Library; Miss Elizabeth Mongan of the
+Rosenwald Collection, National Gallery of Art; Miss Una E. Johnson of
+the Brooklyn Museum; Mr. Gustave von Groschwitz of the Cincinnati Art
+Museum; and Dr. Philip W. Bishop of the U.S. National Museum,
+Smithsonian Institution.
+
+I am particularly grateful to curators of European collections, who have
+been uniformly generous in their assistance. Special thanks are due Mr.
+J. A. Gere of the British Museum and Mr. James Laver of the Victoria and
+Albert Museum, who have gone to considerable trouble to acquaint me with
+their great collections. Others whose help must be particularly noted
+are Mr. Peter Murray, Courtauld Institute of Art, University of London;
+Mme. R. Maquoy-Hendrickx of the Bibliothèque Royale de Belgique,
+Brussels; Dr. Vladimír Novotný of the Národní Galerie, Prague; Dr.
+Wegner of the Graphische Sammlung, Munich; Dr. Wolf Stubbe of the
+Kunsthalle, Hamburg; Dr. G. Busch of the Kunsthalle, Bremen; Dr. Hans
+Möhle of the Staatliche Museen, Berlin; Dr. Menz of the Staatliche
+Kunstsammlungen, Dresden; Miss B. L. D. Ihle of the Boymans Museum,
+Rotterdam; and M. Jean Adhémar of the Bibliothèque Nationale, Paris.
+
+The excellent collections of chiaroscuro prints in the Museums of the
+Smithsonian Institution have formed a valuable basis for this monograph.
+These prints include the set of Jackson’s Venetian chiaroscuros,
+originally owned by Jackson’s patron, Joseph Smith, British Consul in
+Venice, now in the Rosenwald Collection, National Gallery of Art, and
+the representative sampling of Jackson’s work in the Division of Graphic
+Arts, U.S. National Museum.
+
+I am indebted to the following museums which have kindly given
+permission to reproduce Jackson prints in their collections. These are
+listed by catalog number.
+
+  Smithsonian Institution 16, 18, 19, 20, 21, 22 (also in color), 24,
+  25, 26, 27, 28, 29, 30, 39, 50, 51, 52, 53 (also in color), 54, 55,
+  56, 57, 58, 63
+
+  Museum of Fine Arts, Boston (W. G. Russell Allen Estate) 1 (also in
+  color), 11, 14, 23, 33, 34, 38, 40 (also in color)
+
+  Fogg Art Museum 13 (also in color)
+
+  Worcester Art Museum 32
+
+  Metropolitan Museum of Art 5 (Rogers Fund) (also in color), 17, 31
+  (gift of Winslow Ames), 73 (Whittelsey Fund)
+
+  Philadelphia Museum of Art (John Frederick Lewis Collection) 2, 60,
+  61, 62, 64, 65, 66, 67, 68, 74
+
+  British Museum 2 (in color), 6, 7, 8, 9, 10, 12, 15, 37, 41, 42, 43
+  (also in color), 44, 45, 46, 47, 48, 49 (also in color), 59, 69, 70,
+  71, 72, 75, 76 (photographs by John R. Freeman & Co.)
+
+  Victoria and Albert Museum (Crown copyright) 3, 35, 36, 40
+
+Finally, I want to thank the Editorial Office of the Smithsonian
+Institution for planning and designing this book; the Government
+Printing Office for their special care in its production; and Mr. Harold
+E. Hugo for his expert supervision of the color plates.
+
+A grant from the American Philosophical Society (Johnson Fund), made it
+possible to conduct research on Jackson in Europe. Acknowledgment is
+herewith gratefully given.
+
+  JACOB KAINEN
+
+  _Smithsonian Institution_
+
+  _September 1, 1961_
+
+
+
+
+_John Baptist Jackson_
+
+18th-Century Master
+
+of the Color Woodcut
+
+
+
+
+Jackson and His Tradition
+
+
+_The Woodcut Tradition_
+
+Although the woodcut is the oldest traditional print medium it was the
+last to win respectability as an art form. It had to wait until the
+1880’s and 1890’s, when Vallotton, Gauguin, Munch, and others made their
+first unheralded efforts, and when Japanese prints came into vogue, for
+the initial stirrings of a less biased attitude toward this medium, so
+long considered little more than a craft. With the woodcut almost
+beneath notice it is understandable that Jackson’s work should have
+failed to impress art historians unduly until recent times. Although he
+bore the brunt as an isolated prophet and special pleader between 1725
+and 1754, his significance began to be appreciated only after the turn
+of the 20th century, first perhaps by Martin Hardie in 1906, and next
+and more clearly by Pierre Gusman in 1916 and Max J. Friedländer in
+1917, when modern artists were committing heresies, among them the
+elevation of the woodcut to prominence as a first-hand art form. In this
+iconoclastic atmosphere Jackson’s almost forgotten chiaroscuros no
+longer appeared as failures of technique, for they had been so regarded
+by most earlier writers, but as deliberately novel efforts in an
+original style. The innovating character of his woodcuts in full color
+was also given respectful mention for the first time. But these were
+brief assessments in general surveys.
+
+If the woodcut was cheaply held, it was at least acceptable for certain
+limited purposes. But printing pictures in color, in any medium, was
+considered a weakening of the fiber-- an excursion into prettification
+or floridity. It was not esteemed in higher art circles, except for a
+short burst at the end of the 18th century in France and England. This
+was an important development, admittedly, and the prints were coveted
+until quite recently. They are still highly desirable. But while
+Bartolozzi stipple engravings or Janinet aquatints in color might have
+commanded higher prices than Callots or Goyas, or even than many Dürers
+and Rembrandts, no one was fooled. The extreme desirability of the color
+prints was mostly a matter of interior decoration: nothing could give a
+finer 18th century aura. It was not so much color printing that
+mattered; it was _late 18th century_ color printing that was wanted,
+often by amateurs who collected nothing else. Color prints before and
+after this period did not appeal to discriminating collectors except as
+rarities, as exotic offshoots. Even chiaroscuros, with their few sober
+tones, fell into this periphery. Jackson, as a result, was naturally
+excluded from the main field of attention.
+
+The worship of black-and-white as the highest expression of the graphic
+arts[1] automatically placed printmakers in color in one of two
+categories: producers of abortive experiments, or purveyors of popular
+pictures to a frivolous or sentimental public. This estimate was
+unfortunately true enough in most cases, true enough at least to cause
+the practice to be regarded with suspicion. As an indication of how
+things have changed in recent years we can say that color is no longer
+the exception. It threatens, in fact, to become the rule, and
+black-and-white now fights a retreating battle. A comparison of any
+large exhibition today with one of even 20 years ago will make this
+plain.
+
+    [Footnote 1: The purist’s attitude was pungently expressed by
+    Whistler. Pennell records this remark: “Black ink on white paper
+    was good enough for Rembrandt; it ought to be good enough for
+    you.” (Joseph Pennell, _The Graphic Arts_, Chicago, 1921, p.
+    178.)]
+
+At first glance Jackson seems to be simply a belated 18th-century worker
+in the chiaroscuro process. If to later generations his prints had a
+rather odd look, this was to be expected. Native qualities, even a
+certain crudeness, were expected from the English who lacked advantages
+of training and tradition. And Jackson was not only the first English
+artist who worked in woodcut chiaroscuro, he was virtually the first
+woodblock artist in England to rise beyond anonymity[2] (Elisha Kirkall,
+as we shall see, cannot positively be identified as a wood engraver) and
+he was the only one of note until Thomas Bewick arose to prominence
+about 1780. He was, then, England’s first outstanding woodcutter. We
+will find other instances of his significance from the English
+standpoint, but his being English, of course, would have a small part in
+explaining the importance of his prints.
+
+    [Footnote 2: The only earlier name is that of George Edwards.
+    Oxford University has most of the blocks for a decorated alphabet
+    he engraved on end-grain wood for Dr. Fell in 1674. Further data
+    on Edwards can be found in Harry Carter’s _Wolvercote Mill_,
+    Oxford, 1957, pp. 14, 15, 20, and in Moxon’s _Mechanick Exercises,
+    or the Doctrine of Handy Works Applied to the Art of Printing_.
+    (Reprint of 1st ed., 1683, edited and annotated by Herbert Davis
+    and Harry Carter, Oxford, 1958, p. 26n.)]
+
+Jackson made, in fact, the biggest break in the traditions of the
+woodcut since the 16th century. He broadened the scope of the
+chiaroscuro print and launched the color woodcut as a distinct art form
+that rivaled the polychrome effects of painting while retaining a
+character of its own. These were not modest little pieces of purely
+technical interest. The set of 24 sheets reproducing 17 paintings by
+Venetian masters made up the most heroic single project in chiaroscuro,
+and the 6 large landscapes, completed in 1744, after gouache paintings
+by Marco Ricci, were the most impressive color woodcuts in the Western
+world between the 16th century and the last decade of the 19th.
+
+But Jackson’s grand ambition to advance the woodcut beyond all other
+graphic media had little public or private support and finally led him
+to ruin. His efforts were made with insufficient means and with few
+patrons. As a consequence, he rarely printed editions after the blocks
+were cut and proofed. The Venetian set is well known because it was
+printed in a substantial edition. A few additional subjects were also
+sponsored by patrons, but most of Jackson’s other chiaroscuros were
+never published-- they were limited to a few proofs. Editions were
+postponed, no doubt, in the hope that a patron would come along to pay
+expenses in return for a formal dedication in Latin, but this did not
+often happen. Most subjects exist in a few copies only; of some, single
+impressions alone remain. Others have entirely disappeared.
+
+With a large part of Jackson’s work unknown, his reputation settled into
+an uneasy obscurity which, it must be granted, has not prevented his
+work from being collected. The chiaroscuros, especially the Venetian
+prints, can be found in many leading collections in Europe and the
+United States, but the full-color sheets after Ricci are excessively
+rare, particularly in complete sets.
+
+Jackson has long been considered an interesting figure. _His Essay on
+the Invention of Engraving and Printing in Chiaro Oscuro_...,[3] with
+its bold claims to innovation and merit, his adventurous career as an
+English woodcutter in Europe, his adaptation of the color woodcut to
+wallpaper printing and his pioneering efforts in this field, and
+Papillon’s immoderate attack on him in the important _Traité historique
+et pratique de la gravure en bois_[4] will be discussed later. For the
+moment we can say that the Essay was the first book by an Englishman
+with color plates since the _Book of St. Albans_ of 1486, with its
+heraldic shields in three or four colors, and the first book with
+block-print plates in naturalistic colors.[5]
+
+    [Footnote 3: Jackson, London, 1754. Hereafter cited as Essay.
+    Other references bearing directly on Jackson will receive only
+    partial citation in the text. They are given in full in the
+    bibliography, page 171.]
+
+    [Footnote 4: Papillon, Paris, 1766. Hereafter cited as the
+    _Traité_.]
+
+    [Footnote 5: Occasional book illustrations in two or three
+    colors, confined chiefly to initial letters and ornamental
+    borders, appeared as early as the 15th century. Ratdolt in 1485
+    printed astronomical diagrams in red, orange, and black, and used
+    similar colors in a Crucifixion in the _Passau missal_ of 1494.
+    The _Liber selectarum cantionum_ of Senfel, 1520, however, has a
+    frontispiece printed in a broad range of colors from more than
+    four woodblocks. The design is attributed to Hans Weiditz.]
+
+Although critics have been interested in Jackson as an historical
+figure, they have been uncertain about the merit of his work. Opinions
+vary surprisingly. Most judgments were based on the Venetian
+chiaroscuros and depended upon the quality of impressions, many of which
+are poor. Criticisms when they have been adverse have been surprisingly
+harsh. It is unusual, to say the least, for writers to take time
+explaining how bad an artist is. To do this implies, in any case, that
+he warrants serious attention; space in histories is not usually wasted
+on nonentities. We can see now that Jackson was misunderstood because
+the uses of the woodcut were rigidly circumscribed by tradition.
+
+
+_Status of the Woodcut_
+
+After the 15th century the woodcut lost its primitive power and became a
+self-effacing medium for creating facsimile impressions of drawings and
+for illustrating and decorating books, periodicals, and cheap popular
+broadsides. At its lowest ebb, in the late 17th century, and in the
+18th, it was used to make patterns for workers in embroidery and
+needlework and to supply outlines for wallpaper designs to be filled in
+later by “paper-stainers.”
+
+The prime deficiency of the woodcut as an art form lay in the division
+of labor which the process permitted. Draughtsmen usually drew on the
+blocks; the main function of the cutter was to follow the lines
+precisely and carefully. Small room existed for individual style or
+original interpretation; there was little in the technique to
+distinguish one cutter from another. In spite of these limitations,
+gifted cutters could rise beyond the dead level of ordinary practice. As
+fine draughtsmen with a feeling for their materials they did not trace
+with the knife, they drew and carved with it. Their feeling for line and
+shape was sensitive, crisp, and supple. But although they created the
+masterpieces of the medium they suffered from the traditional contempt
+for their craft. Creative ability in a woodcutter was rarely recognized,
+and the art fell into gradual decline. By the time the 18th century
+opened it had been almost entirely abandoned as a means of creating and
+interpreting works of art, and had been relegated to a minor place among
+the print processes.
+
+The attitude of the print connoisseur was clearly stated as early as
+1762 by Horace Walpole:[6]
+
+  I have said, and for two reasons, shall say little of wooden cuts;
+  that art never was executed in any perfection in England: engraving
+  on metal was a final improvement of the art, and supplied the
+  defects of cuttings in wood. The ancient wooden cuts were certainly
+  carried to a great heighth, but that was the merit of the masters,
+  not of the method.
+
+    [Footnote 6: Walpole, 1765 (1st ed. 1762), p. 3.]
+
+William Gilpin in 1768 went even further. Describing the various
+contemporary print processes he omitted the woodcut entirely as not
+worthy of consideration. He acknowledged that “wooden cuts” were once
+executed by early artists but made no additional reference to the
+medium.[7]
+
+    [Footnote 7: William Gilpin, _An Essay on Prints_, London, 1781
+    (1st ed. 1768), p. 47. “There are three kinds of prints,
+    engravings, etchings, and mezzotintos.”]
+
+As late as 1844 Maberly[8] cautioned print amateurs to steer clear of
+block prints:
+
+  Prints, from wooden blocks, are much less esteemed, or, at least,
+  are, generally speaking, of greatly less cost than engravings on
+  copper; and there are connoisseurs who may, perhaps, consider them
+  as rather derogatory to a fine collection.
+
+    [Footnote 8: Maberly, 1844, p. 130.]
+
+Specialized histories of wood engraving, written mainly by 19th-century
+practitioners and bibliophiles, have tended to emphasize literal
+rendition rather than artistic vision. The writers favored wood
+engraving executed with the burin on the end grain of hard dense wood,
+such as box or maple, because it could produce finer details than the
+old woodcut, which made use of knife and horizontally grained wood. They
+judged by narrow craft standards concerned with exact imitation of
+surface textures. Linton, for example, is almost contemptuous in his
+references to the chiaroscuro woodcut:[9]
+
+  ... The poorest workman may suffice for an excellent chiaroscuro.
+  I do not depreciate the artistic value as chiaroscuros of the
+  various prints here noted nor underestimate the difficulty of
+  production; but my business has been solely with the not difficult
+  knifecutting and graver cutting of the same.
+
+    [Footnote 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!]
+
+
+_The Chiaroscuro Tradition_
+
+The chiaroscuro woodcut was originally designed to serve a special
+purpose, to reproduce drawings of the Renaissance period. These were
+often made with pen and ink on paper prepared with a tint or with brush
+and wash tones on white or tinted paper. Highlights were made and
+modeled with brush and white pigment; the result had something of a
+bas-relief character. Neither line engraving nor etching was suited to
+reproducing these spirited drawings, but the chiaroscuro woodcut could
+render their effects admirably. Its nature, therefore, was conceived as
+fresh and spontaneous, as printed drawing, in fact.
+
+Chiaroscuros were usually of two types, the German and the Italian. The
+Germans specialized in reproducing line drawings made on toned paper
+with white highlights. The woodcuts, however, could stand by themselves
+as black-and-white prints; the tones required separate printing. The
+typical German chiaroscuro was therefore from two blocks. The earliest
+dated print in this style is Lucas Cranach’s _Venus_, with “1506”
+appearing on the black block. But the brown tint might have been added a
+few years later. Jost de Negker, working after drawings by Hans
+Burgkmair, cut blocks which are dated, on the black block at least, as
+early as 1508, and work by Hans Baldung and Hans Wechtlin appeared
+shortly after.
+
+The Italian style originated with Ugo da Carpi, who in 1516 petitioned
+the Senate in Venice to grant him exclusive rights to the chiaroscuro
+process, which he claimed to have invented. For many years, until
+Bartsch adduced proof in favor of the Germans, da Carpi was conceded to
+be the founder of this process. His first work dates from 1518 but
+obviously he produced prints earlier-- how much earlier is uncertain.
+Working mainly after the loose, fresh wash drawings of Raphael and
+Parmigianino he developed a method of reducing their tonal constituents
+to two or three simple areas plus a partial outline, each of which was
+cut on a separate block. The blocks were then inked with transparent
+tones and printed one over the other to achieve gradations. White
+highlights were imitated, as in the German manner, by cutting out lines
+on a tone block to let the white paper assert itself. The result was a
+broadly treated facsimile of the original drawing. Some liberties were
+occasionally taken in interpretation, and sometimes fanciful changes
+were made in color combinations.
+
+This technique was followed in Italy during the remainder of the 1500’s,
+the most prominent early workers being Antonio da Trento (Fantuzzi),
+Domenico Beccafumi, and Giuseppe Niccolò Vicentino. Late in the century
+Andrea Andreani acquired a large number of blocks by previous Italian
+chiaroscurists and reissued them, adding his own monogram. By
+multiplying these subjects he reduced their rarity and emphasized their
+distinct character, their difference from other types of prints. The
+Italian term “chiaroscuro,” meaning light and dark, has persisted as a
+generic name for this class of work.
+
+The Italian and German techniques were often pursued in variant styles.
+The Germans sometimes used three blocks, with outlines not only in black
+but in a tone and white as well. Burgkmair’s _Death as a Strangler_ (B.
+40)[10] and Wechtlin’s _Alcon Freeing his Son from the Serpent_ (B. 9)
+are of this type.
+
+    [Footnote 10: Adam Bartsch, _Le Peintre graveur_, Vienna,
+    1803-1821.]
+
+The Italians, in turn, often used two blocks in the German fashion,
+reproducing a complete crosshatched pen drawing with one tint block.
+Even da Carpi used this procedure more than occasionally, as in _St.
+John Preaching in the Desert_ after Raphael (B. XII), and in _The
+Harvest_ after Giulio Romano (B. XII). Most other Italian chiaroscurists
+made frequent use of this method which had the virtue of simplicity.
+Outstanding exponents included Niccolò Boldrini, who worked chiefly
+after drawings by Titian, and in the early 17th century the brothers
+Bartolomeo and G. B. Coriolano. Andreani’s prints were usually in a more
+independent style which employed a clear outline in gray or soft brown
+with three tints blocks. While technical procedures were identical in
+Italian and German chiaroscuros after pen drawings, the Italian work
+tended to be looser than the German, which was more careful and
+methodical.
+
+The Italian style, then, strictly interpreted, was simply the da Carpi
+style. Less rigorously considered, it included the free Italian variants
+of the German process.
+
+Hendrick Goltzius of Haarlem, whose first chiaroscuros date from 1588,
+combined both Italian and German influences with marvelously crisp
+drawing and cutting and sharper color combinations than were common.
+Paulus Moreelse, a Dutch artist in the first half of the 17th century,
+employed a dark block in clear outline but modeled his forms internally
+in the da Carpi manner. The technical procedure was therefore close to
+Andreani’s.
+
+A number of other well-known artists including Simon Vouet and
+Christoffel Jegher, and quite a few anonymous ones, also turned out
+occasional pieces in the first half of the 17th century, generally in
+the manner of da Carpi or Goltzius. Perhaps the most prolific was
+Ludolph Businck, who created prints in France especially after drawings
+by George Lallemand.
+
+After this period little was done in the medium until 1721, when Count
+Antonio Maria Zanetti in Venice made his first chiaroscuro woodcut. He
+worked consistently for almost thirty years and sent proofs to his
+friends in Europe, mostly important connoisseurs, through whom the
+prints became widely known. For the most part they were in the da Carpi
+style, to which he added a light charm. Between 1722 and 1724 Elisha
+Kirkall in London published twelve chiaroscuros after Italian masters.
+The prints were done in a combination of media-- etching and mezzotint
+with relief blocks in either wood or metal-- and were outside the
+woodcut tradition, but they attracted attention to the old process. In
+about 1726 Nicolas and Vincent Le Sueur in Paris produced some
+chiaroscuros, and a year later Jackson made his first example. The Le
+Sueurs followed da Carpi’s method while Jackson used a loosely drawn
+outline and three tint blocks in a slight variation of the Andreani
+style.
+
+One characteristic was shared in common by all early chiaroscurists;
+their work always reproduced drawings, usually in exact size. Jackson
+added a new dimension to the medium in 1735 by beginning to work after
+oil paintings.[11] His attempt to convey their scale, solidity, and
+tonal range, while retaining the woodcut’s breadth of execution, was
+perhaps carrying the chiaroscuro into complexities for which it was not
+suited. The method called for extraordinary talents in planning,
+drawing, cutting, and printing, and it resulted in impressions that
+could not escape a certain heaviness of effect when compared with
+traditional work. Jackson’s prints in this style are both daring and
+original, but no later woodcutter had either the desire or the temerity
+to follow his example. The method remained a dead end in chiaroscuro.
+
+    [Footnote 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.]
+
+    [Illustration:
+    Tailpiece in _L’Histoire naturelle éclaircie dans une de ses
+    parties principales, l’oryctologie_, by D. d’Argenville, De Bure,
+    Paris, 1755. This is one of the cuts Jackson made between 1725-1730.
+    Actual size.]
+
+
+
+
+Jackson and His Work
+
+
+_England: Obscure Beginnings_
+
+Little is known of Jackson’s early years. It is assumed that he was born
+in England about 1700, although many accounts, probably based upon
+Nagler, have him born in 1701. Papillon[12] conjectures that he studied
+painting and engraving on wood with “an English painter” named “Ekwits,”
+but is not sure he remembers the name correctly. He believes this artist
+engraved most of the head pieces and ornaments in Mattaire’s _Latin
+Classics_, published by J. and R. Tonson and J. Watts in London, 1713,
+and remarks on similarities with Jackson’s style. Chatto[13] believes
+these cuts were executed by Elisha Kirkall, interpreting the initials
+_EK_ appearing on one of the prints to refer to this engraver rather
+than to “Ekwits.” He goes on to assume that Kirkall also engraved the
+blocks for Croxall’s edition of _Aesop’s Fables_, 1722, by the same
+publisher, and adds that Jackson was probably his apprentice and might
+have had some share in their execution. Most accounts of Jackson, taking
+Chatto’s word, note him as a pupil of Kirkall.
+
+    [Footnote 12: Papillon, 1766, vol. 1, p. 323. Most probably
+    Papillon confused “Ekwits” with Elisha Kirkall.]
+
+    [Footnote 13: Chatto and Jackson, 1861 (1st ed. 1839), p. 448.]
+
+Linton[14] believes that only Kirkall or Jackson could have made the
+cuts, “unless some _Sculptor ignotus_ is to be credited with that most
+notable book of graver-work in relief preceding the work of Bewick.”
+
+    [Footnote 14: Linton, 1889, p. 130.]
+
+But it is doubtful that Jackson was a pupil of Kirkall. For this
+assumption we have the evidence of a curious and important little book,
+_An Enquiry into the Origins of Printing in Europe_,[15] which because
+of a misleading title and an anonymous author has been overlooked as a
+reference source. It is a transcription of Jackson’s manuscript journal
+and was prepared for publication to coincide with the launching of the
+wallpaper venture, Kirkall is mentioned as follows (pp. 25-26):
+
+  ... I shall give a brief account of the State of Cutting on Wood in
+  England for the type Press before he [Jackson] went to France in
+  1725. In the beginning of this Century a remarkable Blow was given
+  to all Cutters on Wood, by an invention of engraving on the same
+  sort of Metal which types are cast with. The celebrated Mr.
+  _Kirkhal_, an able Engraver on Copper, is said to be the first who
+  performed a Relievo Work to answer the use of Cutting on Wood. This
+  could be dispatched much sooner, and consequently answered the
+  purpose of Book-sellers and Printers, who purchased these sort of
+  Works at a much chaper [sic] Rate than could be expected from an
+  Engraver on Wood....
+
+    [Footnote 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.”]
+
+It does not seem reasonable that Jackson would learn the art of
+woodcutting from Kirkall and then refer to him as a famous engraver on
+copper and type metal. It is just as difficult to believe that Kirkall
+taught Jackson to work on metal, not wood.
+
+The “EK” who engraved the blocks for Mattaire’s _Latin Classics_ might
+very well have been Kirkall, whose style also might have had something
+in common with Jackson’s early work. But this would not necessarily
+indicate a definite influence. English pictorial relief prints for book
+illustration in the first decades of the 18th century had one
+characteristic in common; they were almost all done with the engraver’s
+burin on type metal or end-grain boxwood. They therefore showed elements
+of a “white-line” style as opposed to the black-line or knife-cut method
+commonly used in other countries. While it is likely that Jackson was an
+exception to the general rule in England (we have his word for it in the
+_Enquiry_, as we shall see), he was also deeply influenced by the
+prevailing English style of burin work on wood or type metal. If
+Papillon saw a similarity between Jackson’s cuts and those in the _Latin
+Classics_, it might have been because he was unfamiliar with other
+examples of English work and did not recognize a national style.
+
+The initials “J. B. I.” appear on a small cut in the 1717 edition of
+Dryden’s plays, also published by Tonson. If this is an early piece by
+Jackson it would indicate that he might have been born earlier than
+1701, although it is conceivable that he could have made it when he was
+sixteen.
+
+This is the extent of the evidence, or rather lack of evidence, of
+Jackson’s early years in England. Nothing is certain except that
+woodblock work was at a particularly low ebb. Standards in typography
+and printing were rude (Caslon was just beginning his career), far
+inferior to those on the Continent. Cuts were used rather sparingly by
+printers, and almost always for initial letters (these included little
+pictures), for tailpieces, and for decorative borders. As a measure of
+economy the same cut was often repeated throughout a book. Also, initial
+letters were sometimes contrived to permit the type for different
+capitals to be inserted in the center area, so that in some instances no
+more than two cuts were needed to begin alternate chapters in a volume.
+Rarely were woodblocks employed to illustrate the text. Pictures were
+almost always supplied by the copper-plate engraver, even when the
+prints were small and surrounded with typographical matter. This was an
+expensive and troublesome procedure, but it was the only one possible
+where an able group of cutters or engravers on wood did not exist and
+where printers found it difficult to achieve good impressions on the
+uneven laid paper of the time.
+
+The main employment for knife cutters on wood was in making the popular
+prints, or illustrated broadsides, which had been sold in city and
+village throughout the country since the early 1600’s. Plank and knife
+could be used for these prints because of the generally large size of
+the pictures and the lack of sophistication of the audience. They are
+described by Bewick from his memories as a boy in the 1760’s:[16]
+
+  I cannot, however, help lamenting that, in all the vicissitudes
+  which the art of wood engraving has undergone, some species of it
+  are lost and done away: I mean the large blocks with the prints from
+  them, so common to be seen, when I was a boy, in every cottage and
+  farm house throughout the country. These blocks, I suppose, from
+  their size, must have been cut on the plank way on beech, or some
+  other kind of close-grained wood; and from the immense number of
+  impressions from them, so cheaply and extensively spread over the
+  whole country, must have given employment to a great number of
+  artists, in this inferior department of woodcutting.... These
+  prints, which were sold at a very low price, were commonly
+  illustrative of some memorable exploits, or were, perhaps, the
+  portraits of eminent men.... Besides these, there were a great
+  variety of other designs, often with songs added to them of a moral,
+  a patriotic, or a rural tendency, which served to enliven the circle
+  in which they were admired. To enumerate the great variety of these
+  _pictures_ would be a task.
+
+    [Footnote 16: Bewick, 1925 (1st ed. London, 1862), pp. 211-212.]
+
+Bewick adds that some of these popular woodcuts, although not the great
+majority, were very good. Since this was the main field for woodcutters,
+it is an interesting conjecture that Jackson might have been trained for
+this craft. As he matured, we can assume that he felt the urge to excel
+as a woodcutter and left the country to develop his potentialities.
+
+It must be remembered that in painting and engraving England was far
+behind the continental countries, which could boast of centuries of
+celebrated masters. The medieval period persisted in England until the
+time of Henry VIII. Traditional religious subjects, so indispensable to
+European art, were thereafter generally proscribed. There was no
+fondness as yet for themes of classical mythology, and the new and
+developing national tradition in painting had to form itself on the only
+remaining field of pictorial expression, portraiture. Standards of style
+were set by foreign artists who were lured to England to record its
+prominent personages in a fitting manner. Beside such masters as
+Holbein, Zuccaro, Moro, Geeraerts, Van Dyck, Mytens, Lely, Kneller,
+Zoffany, and Van Loo, among others, native painters seemed crude and
+provincial. The list of foreign artists other than portraitists who
+visited England before 1750 for varying periods is also impressive.
+
+If good native painters were rare in the first decades of the 18th
+century, good engravers or woodcutters were even rarer. Hogarth, whose
+earliest prints were produced in the 1720’s, received his training from
+a silversmith.
+
+Jackson’s next move was toward the Continent.
+
+
+_Paris: Perfection of a Craft_
+
+Jackson arrived in Paris in 1725, his age 24 if we accept 1701 as his
+birth date. Here flourished a brilliant community of artists, craftsmen,
+dealers, and connoisseurs; woodcutting, etching, and line engraving were
+highly developed and the printing offices made extensive use of woodcuts
+for decoration and illustration. The woodcut tradition mimicked line
+engraving and was confined chiefly to tiny blocks wrought with the
+utmost delicacy. The main influence came from the 17th century-- in
+particular from the etchings and line engravings of Sébastien Le Clerc
+and from the etchings of Jacques Callot, whose simple system of swelling
+parallel lines, with occasional cross-hatchings, was adopted by both
+line engravers and woodcutters.
+
+Le Clerc, whose style was influenced by Callot, had produced a vast
+number of illustrations involving subjects of almost every type; his
+designs, therefore, were ready-made for publishers who wanted good but
+low-priced illustrations. Woodcutters copied his engravings shamelessly,
+line for line. The overblown high Baroque style in ornament, swag, and
+cartouche was also drawn upon as a source for decorative cuts. In an
+attempt to imitate the full tonal scale of engraving, the woodcutters
+used heavier lines in the foreground to detach the main figures from the
+background, which was made up of more delicate lines. Background lines
+were often narrowed further by scraping down their edges, an operation
+that caused them to merge imperceptibly into the white paper. In this
+way, although the natural vigor of the woodcut suffered, an effect of
+space and distance was achieved. Because of the small scale this
+technique was difficult, especially when cross-hatching was added, and
+special knives as well as a phenomenal deftness were needed to work out
+these bits of jewelry on the plank grain of pear, cherry, box, and
+serviceberry wood.
+
+Jackson’s initial impression of the state of woodcutting in France is
+described in the _Enquiry_ (p. 27):
+
+  From this Account it is evident that there was little Encouragement
+  to be hoped for in England to a Person whose Genius led him to
+  prosecute his Studies in the ancient Manner; which obliged Mr.
+  _Jackson_ to go over to the Continent, and see what was used in the
+  _Parisian_ Printing-houses. At his arrival there he found the
+  _French_ Engravers on Wood working in the old Manner; no Metal
+  Engravers, or any of the same Performance on the end of the Wood,
+  was ever used or countenanced by the Printers or Booksellers in that
+  City. He tells us that he thought himself a tolerable good Hand when
+  he came to _Paris_, but far inferior to the Performances of
+  Monsieurs _Vincent le Seur_ and _Jean M. Pappillon_....
+
+Jackson admits benefiting from the friendship and advice of these
+woodcutters, then goes on to describe their work with a ruthless
+frankness. Le Sueur, he says, was a brilliant copyist of the line
+engravings of Sébastien Le Clerc but, because he was a line-for-line
+copyist, lacked skill in drawing. Papillon’s father, also a woodcutter
+who copied Le Clerc, avoided cross-hatching, which Jackson considered an
+essential ingredient of the true style of black-and-white woodcutting;
+Papillon himself, while described as a draughtsman of the utmost
+accuracy, was criticized for making his work so minute that it was
+impossible to print clearly. Jackson says in the _Enquiry_ (pp. 29-30):
+
+  If his Father neglected Cross Hatching, the Son affected to outstrip
+  the _le Seurs_ in this difficult Performance, and even the ancient
+  _Venetians_, believing to have fixed a _Non plus ultra_ in our Times
+  to any future Attempts with Engraving on Wood.
+
+  ... I saw the Almanack[17] in a horrid Condition before I left
+  _Paris_, the Signs of the Zodiack wore like a Blotch,
+  notwithstanding the utmost Care and Diligence the Printer used to
+  take up very little Ink to keep them clean. I have chosen to make
+  mention of these two _Frenchmen_ as the only Persons in my time
+  keeping up to the Stile of the ancient Engraving on Wood; and as
+  they favoured me with their Friendship and Advice during my abode in
+  _Paris_, I thought in Justice to their good Nature it was proper to
+  give some Account of their Merit!
+
+    [Footnote 17: The _Petit almanach de Paris_, founded by J. M.
+    Papillon in 1727 and illustrated with his woodcuts.]
+
+Acknowledgment of friendship and merit in this vein, while entirely true
+(Papillon was minute to the point of exhibitionism, and his cuts were
+often not adapted to clear printing), demonstrates the lack of tact that
+made powerful enemies for Jackson wherever he traveled. Papillon no
+doubt read the _Enquiry_, in which he was discussed at length, and the
+well-known _Essay_, with its aggressive tone and irresponsible claims.
+When Papillon’s _Traité_ came out in 1766 he took the opportunity to put
+the English artist in his place. Certainly his account was colored by
+Jackson’s writings; there is no other explanation for this display of
+personal bitterness in a work published 36 years after the Englishman
+left Paris (pp. 327-328):
+
+  J. Jackson, an Englishman who lived in Paris for a few years, might
+  have perfected himself in wood engraving, which he had learned, as I
+  said previously on page 323, from an English painter, if he had been
+  willing to follow my advice. As soon as he arrived in Paris he came
+  to me asking for work; I gave him some things to execute for a few
+  months in order to allow him to live, for which he repaid me with
+  ingratitude by making a duplicate of a floral ornament of my design
+  which he offered, before delivering the block to me, to the person
+  for whom it was to be made. From the reproaches I received when the
+  matter was discovered, I refused, naturally, to employ him further.
+  Then he went the rounds of the printing houses in Paris, and was
+  forced to offer his work ready-made and without order, almost for
+  nothing, and many printers, profiting by his distress, supplied
+  themselves amply with his cuts. He had acquired a certain insipid
+  and limited taste, little above the mosaics on snuffboxes, similar
+  to other mediocre engravers, with which he surcharged his works. His
+  mosaics, however delicately engraved, are always lacking in effect,
+  and show the engraver’s patience and not his talent; for the
+  remainder of the cut has only delicate lines without tints or
+  gradations of light and shade, and lack the contrast necessary to
+  make a striking effect. Engravings of this sort, however deficient
+  in this regard, are admired by printers of vulgar taste who
+  foolishly believe that they closely resemble copper plate engraving,
+  and that they give better impressions than those of a picturesque
+  type having a greater variety of tints.
+
+  Jackson, having been forced by poverty to leave Paris, where he
+  could find nothing further to do, traveled in France; then,
+  disgusted with his art, he followed a painter to Rome, after which
+  he went to Venice, where, I am told, he married, and then returned
+  to England, his native country.
+
+Whether or not Jackson was unethical he was certainly an active
+competitor and many printers “supplied themselves amply with his cuts.”
+He must have produced an enormous amount of work during his five years
+in Paris because John Smith, in his _Printers Grammar_,[18] says that
+Jackson’s cuts were used so widely and for so many years in Paris that
+they replaced the fashion of using “flowers,” or typographical
+ornaments, and that this style did not come into vogue again until the
+cuts were completely worn down through use.
+
+    [Footnote 18: Smith, 1755, p. 136.]
+
+This statement is not entirely true, but it is probable that Jackson’s
+woodcuts, more broadly executed than the typical French products,
+outlasted all others of the 1725-30 period. They were consistently
+re-used, and appeared, as far as they can be traced, well into the
+1780’s.[19]
+
+    [Footnote 19: See cuts in _Dissertatiumeula quodlibetariis
+    disputationibus_ of C. L. Berthollet, Paris, 1780, and _Voyage
+    littéraire de la Grèce_, of de Guys, 1783.]
+
+Elsewhere in the _Traité_, however, Papillon has a good word for
+Jackson’s abilities:[20]
+
+  Jackson, of whom I have already spoken, also engraved in
+  chiaroscuro; I have a little landscape by him which is very nicely
+  done.
+
+    [Footnote 20: P. 415. This may be the print formerly in Dresden
+    but lost during the war.]
+
+It was inevitable that Papillon and Jackson should clash. The
+Frenchman’s notion of woodcutting was influenced, as we have seen, by
+copper plate engraving; he wanted, by incredible minuteness of cutting,
+to achieve approximately the same results. This was in keeping with the
+delicate French _rocaille_ tradition on which Papillon was nurtured; to
+him any other contemporary style of book decoration was evidence of bad
+taste. Jackson, on his part, felt that this approach violated the
+essentially broad, vigorous nature of the woodcut and, in addition, made
+excessive demands on the printer. Since this impoverished beginner, and
+an Englishman at that, refused to take his earnest advice or to fall
+into the prevailing style, Papillon was enraged. After all, Jackson was
+working as an employee. But Papillon was not entirely blind. In a number
+of places in the _Traité_ he made reference to other woodcutters who
+were working in Jackson’s style, and he recorded some of the works the
+Englishman illustrated during his five years in Paris.
+
+    [Illustration:
+    Headpiece by J. M. Papillon for his _Traité historique et pratique
+    de la gravure en bois_, Paris, 1766, vol. 3. This is an example of
+    Papillon’s minute style, against which Jackson rebelled.
+    Actual size.]
+
+Jackson’s blossoming out as a maker of wallpaper after his return to
+England and his brash claims in this connection in the _Essay_, must
+also have irked Papillon, who knew the field as an expert; his father in
+1688 had set up the first large printing house in France for wall
+hangings, and after his death in 1723 Papillon had inherited it. In
+1740, he sold the business to the widow Langlois, but he had run the
+shop during Jackson’s residence in Paris and his former employee no
+doubt had learned a great deal by observing its operation. Yet here more
+than twenty years later was the upstart Englishman again, venturing into
+wallpaper manufacturing with an air of moral superiority, attacking all
+other products as unworthy. Jackson’s ridiculing of the Chinese style
+must have been particularly galling since Papillon and his father had
+specialized in producing such papers. These were much better than
+comparable English work, but Jackson, confining himself to English
+products, had attacked the whole style without making distinctions.
+
+According to the _Enquiry_ (pages 32-55 of this book will be drawn upon
+for the ensuing details of Jackson’s career), M. Annison, Director of
+the Imprimerie Royale, for whom Jackson produced many cuts, introduced
+him to Count de Caylus, collector, connoisseur, etcher, and the leading
+spirit in French engraving at the time. De Caylus had, in 1725,
+undertaken to direct the reproduction of drawings and paintings in the
+best French collections.[21] Pierre Crozat, the famous collector,
+sponsored the publication of this ambitious work.
+
+    [Footnote 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.]
+
+The drawings were reproduced in chiaroscuro while the paintings were
+rendered in black-and-white by a corps of engravers. The chiaroscuros
+were made by combining an etched outline, usually by de Caylus or
+P. P. A. Robert, with superimposed tones, mainly in green or buff, from
+one or two woodblocks cut in most cases by Nicolas Le Sueur, or under
+his direction. This was not a new printing method. Hubert (not Hendrick)
+Goltzius had first employed it in a set of Roman emperors after antique
+medallions in 1557.[22] To reproduce drawings by Raphael, Parmigianino,
+and himself, Abraham Bloemart, as well as Frederick and Cornelius
+Bloemart in the early 1600’s, had used this combination extensively, and
+as described earlier, p. 11, Kirkall had used it between 1722 and
+1724.[23] The combination method produced rather feeble prints that
+lacked the vigor of straight woodblock chiaroscuro. The etched outline
+was thin and ineffective, and the tints were pallid so as not to
+overpower the drawing. Only Abraham Bloemart’s prints in this style were
+convincing, although Kirkall’s chiaroscuros, in their soft, over-modeled
+way, had individuality. But the _Cabinet Crozat_ lacked distinction
+entirely. The chiaroscuros had a mechanical look, a fact not surprising
+when we remember that they were produced by a team of engravers--
+assembled, as it were, from several hands working in different media.
+The best prints were a few chiaroscuros made entirely from woodblocks by
+Nicolas Le Sueur, although these were also rather tepid, no doubt to
+harmonize with the rest of the work.
+
+    [Footnote 22: _Imperatorum imagines_, Antwerp, 1557. The
+    woodblocks were cut by Josse Geitleugen.]
+
+    [Footnote 23: In the _Enquiry_ (p. 31) Jackson asserts that
+    Kirkall’s tints were made from copper plates, not woodblocks.]
+
+Jackson tells us that he worked on some tint blocks, first from a
+drawing by Giulio Romano and later from a drawing by Raphael, _Christ
+Giving the Keys to St. Peter_, the original _modello_ for one of the
+famous tapestry cartoons. Count de Caylus, he says, liked the work and
+wanted to employ him further on the project, but Crozat rejected him
+flatly. De Caylus, according to Jackson, was embarrassed and distressed
+and offered recompense for the lost time and labor, but Jackson, not to
+be outdone in generosity by a nobleman, refused, explaining that the
+honor of knowing the Count and receiving his approbation more than made
+up for his lost effort.
+
+Vincent Le Sueur objected to the combination method and withdrew early
+from the project. Possibly Jackson, who also disliked this method and
+was not known for his discretion, was considered by Crozat to be a
+disruptive element. Possibly his style of cutting was not retiring
+enough for Crozat’s tasteful French notion of chiaroscuro. This project,
+in any case, aroused the Englishman’s interest in the process. _Christ
+Giving the Keys to St. Peter_, after Raphael, made about 1727, was
+probably Jackson’s first chiaroscuro woodcut. No doubt he produced it on
+his own and offered it as a plate for the publication, perhaps at the
+time he was commissioned to cut the tint blocks to be used in
+combination with de Caylus’ etching of this subject.
+
+With both Papillon and the powerful Crozat against him, Jackson was
+finished in Paris. De Caylus urged him to go to Italy. Accordingly, in
+April 1730, he left Paris in the company of John Lewis, an English
+painter, and set out for Rome, where he expected to continue his studies
+in drawing and deepen his knowledge of art.
+
+Jackson’s style was still being formed during his Paris period. Confined
+for the most part to initial letters, headbands, and tailpieces, his
+work differed from contemporary French cuts only in its technical
+handling, which was firmer and broader. Little of a more creative nature
+came his way, and the Paris stay therefore served as a useful interim
+during which he became adept in his craft. The necessity for keeping
+himself alive by cutting on wood developed his powers of invention and
+his facility: he became a remarkably rapid and skillful cutter. Jackson
+gathered strength in Paris, but it was in Venice that he really came to
+maturity as an artist.
+
+    [Illustration:
+    TAILPIECE in _Histoire générale de Languedoc_, by Claude Vic and
+    J. J. Vaissete, Paris, 1730, vol. 1. Note the even tone and clean
+    cutting compared with Papillon’s light-and-dark contrasts and
+    dainty cutting.
+    Actual size.]
+
+
+_Venice: The Heroic Effort_
+
+After leaving Paris, Jackson and Lewis journeyed to Marseilles, where
+Jackson became seriously ill and remained for six months, while Lewis
+continued to Genoa. Regaining his health, Jackson went on to Genoa and
+then to Leghorn, Pisa, and Lucca, arriving in Florence in January 1731.
+There, during a stay of several months, he discussed with the Grand Duke
+of Tuscany a reprinting of Vasari’s _Lives of the Painters_. Jackson was
+to make cuts for the headpieces, but the project was eventually dropped,
+and he continued to Bologna, where he remained a month chiefly in the
+company of the woodcutter G. M. Moretti, who showed him some original
+blocks cut by Ugo da Carpi for printing in chiaroscuro. He then
+proceeded to Venice, arriving “three Days before the Feast of the
+Ascension in 1731, and was highly surprized to find no one Engraver on
+Wood capable to do such poor Work, he has seen at Bolonia.” Jackson was
+amply supplied with strong recommendations from Florence, and on showing
+his work to leading printers was urged to settle in Venice, where a fine
+woodcutter capable of both designing and executing cuts was urgently
+needed. Here he also met Count Antonio Maria Zanetti, who was well-known
+as a chiaroscuro woodcutter besides being a collector and patron of the
+arts. Their first meeting is described in the _Enquiry_:
+
+  ... very soon after his [Jackson’s] Arrival he had an Interview with
+  Signior _Antonio Maria Zannetti_; from the Accounts he had heard
+  from Mr. _Marriette_ in _France_ of this Man’s Work in _Chiaro
+  Oscuro_, he expected to see some wonderful Performance, but
+  _Parturiunt montes nascetur ridiculus mus_ is a most applicable
+  Proverb on this Occasion. I who have perused this grand Raccolta of
+  _Zannetti’s_, must acknowledge that they are a trifling Performance,
+  inferior to any Attempts of this Kind in our Times; and indeed it is
+  no Wonder, when we come to know that this Man never used a Press,
+  nor so much as a Hand Roll to print his Works with. Our Countryman
+  says he had room to suspect he neither did cut or print these Works,
+  which was confirmed by the poor Men who performed both. But such was
+  the Vanity of this Author, that he told the Public in his
+  Dedications that he was the Restorer of that lost Art, whereas he
+  only drawed them on the Blocks, which might have been done as well
+  by those that cut and printed them. At this first Interview the low
+  Cunning of this Man was discovered....[24]
+
+    [Footnote 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.]
+
+Jackson undoubtedly disliked Zanetti’s soft and delicate treatment, so
+characteristic of 18th-century work, and considered his interpretation
+of Parmigianino and Raphael little short of sacrilege. Since Jackson was
+incapable of hiding his feelings a quarrel became inevitable. The first
+rift came when Zanetti let Jackson have for a few weeks a drawing by
+Parmigianino, the _Venus and Cupid with a Bow_, to be executed in four
+blocks. The print was done “intirely in _Hugo’s_ [da Carpi’s] manner,
+with this Difference, that no _Oscuro_ block has a Contour to resemble
+the original Drawing it was done from, which is seldom seen in _Hugo’s_
+works....” Zanetti, surprised by the fine quality of the first proof,
+proposed to pass it off on Mariette in Paris as an original da Carpi
+print. He even stained it and cut holes in it to give the impression of
+aged worm-eaten paper. At the same time Jackson executed another
+chiaroscuro, also based on a Parmigianino drawing, the _Woman Standing
+Holding Jar on her Head_. Zanetti, says the _Enquiry_--
+
+  ... caressed the Author with the highest Expressions of Zeal for his
+  Service, protesting he would communicate his Capacity to his
+  Correspondents all over _Europe_, which would be the Means to
+  advance his Fortune, especially amongst the _English_ Quality and
+  Gentry who travelled _Italy_. The intent of all those fine Promises
+  was to get the two Sets of Blocks into his Hands, which he expected
+  as a Present for the Use of the two original Drawings, from which
+  these Prints were taken; but this not being complyed with, the
+  _Restaurati_ expressed a Resentment at this Refusal, and took all
+  the Opportunities to distress the Undertakings of any Sort performed
+  by Mr. _Jackson_, during fourteen Years Residence in _Venice_.
+
+Zanetti was charged, in some obscure way, with obstructing Jackson’s
+work in cutting 136 blocks for the _Istoria del Testamento Vecchio e
+Nuovo_, popularly known as the _Bibbia del Nicolosi_,[25] published by
+G. B. Albrizzi in 1737. We are informed that Filippo Farsetti, one of
+Jackson’s patrons, paid him for the whole set of cuts after rebuking
+Zanetti for interference.
+
+    [Footnote 25: These cuts were also used for the _Biblia Sacra_,
+    published by Hertz in Venice in 1740.]
+
+The Englishman evidently was kept well occupied with preparing cuts for
+printers, among them Baglioni and Pezzana. For the latter he made 24
+woodcuts for a quarto edition of a _Biblia Sacra_ and an unspecified
+number of ornaments for a folio edition. Jackson was given a free hand
+to conceive and carry out the cuts as he pleased.
+
+While working on these prints he began--
+
+  to consider on his favourite Work in _Chiaro Oscuro_, and by
+  intervals examined what he had projected at _Paris_. He began first
+  to make experiments with Tints, and having proved that Four
+  Impressions could produce Ten positive Tints, besides _Tratti_ and
+  _Lights_; he resolved to try a large Piece from _Rubens’s_ Judgment
+  of _Solomon_, with an intent to prove what could be done with the
+  Efforts of a Type Press before he launched into greater Expences
+  with another Machine.
+
+He wanted this press in his home, where he could experiment as he
+pleased without tying up workmen or equipment in Pezzana’s shop. It
+might have been professional delicacy that prompted him to ask Pezzana’s
+permission to have a private press built, or it might have been a bid
+for patronage from the generous and influential printer. In any event,
+Pezzana responded by having his carpenters build and install the press
+at his own expense. To avoid official registrations or craft suspicions,
+he had it registered as his own. The trial proofs of _The Judgment of
+Solomon_, printed from four blocks, pleased Jackson in every regard
+except vigor of impression. Unfortunately no edition was published,
+despite the dedication to Filippo Farsetti.
+
+Finished in 1735, this woodcut was probably the first to translate a
+painting in a full range of tones. From the purely technical standpoint
+it was an incredible achievement. Jackson created a vivid approximation
+of a large and complex painting and at the same time produced a vigorous
+woodcut. From four superimposed woodblocks, with almost no linework, he
+was able to capture the full-blooded forms of Rubens. By keeping his
+means simple Jackson asserted the importance of his cutting and
+printing, the expressiveness of his drawing, and the fluidity of his
+tones. Obviously such a procedure required major decisions as to what to
+omit and what to stress; in other words it required interpretive
+abilities of a high order.
+
+Evidently Jackson believed that his new chiaroscuro method required
+heavier pressure than the platen press was capable of. (On the usual
+wooden screw press the size of the platen never exceeded 13 by 19
+inches, because the impressions made with a larger platen would not have
+been strong enough; for prints larger than the platen, the bed was moved
+and the platen pulled down twice.) He had the press returned to Pezzana
+and set out to build a more suitable printing machine.
+
+  He found there were other means to be employed beside a Type Press,
+  and having examined the Theory of his Invention put it in Practice,
+  by erecting a Rolling Press of another Construction than what is
+  used for printing Copper Plates.
+
+    [Illustration:
+    ILLUSTRATION in _Biblia Sacra_ published by Hertz, Venice, 1740,
+    vol. 1. Originally cut by Jackson for Albrizzi’s _Istoria del
+    Testamento Vecchio e Nuovo_, Venice, 1737.
+    Actual size.]
+
+In Paris Jackson had suggested using a cylinder press for printing wood
+blocks. The gentlemen to whom the suggestion was made, Count de Caylus,
+Coypel, and Mariette, were sure that the enormous pressure would split
+the blocks. The Englishman, on the contrary, felt that the pressure,
+properly controlled by a chase, would hold the blocks together. Printing
+would be much more rapid and the exceptional vigor of the impression
+would suggest a hand drawing. The use of cylinder presses for
+chiaroscuro printing was already well known to experts. George Lallemand
+and Ludolph Businck, sometime between 1623 and 1640, had used not one
+but a series of six cylinders on three joined presses, with three
+printers simultaneously inking separate blocks with different tones.
+Impressions were then printed from each block in succession.
+Papillon[26] described this press, and also another with a special chase
+designed at an unspecified date by Nicolas Le Sueur. Jackson’s prints
+show a much stronger impression than those of Businck or Le Sueur. No
+details of his press are known, although Thomas Bewick[27] reported that
+Jackson as an old man had shown him a drawing of its construction.
+
+    [Footnote 26: Papillon, vol. 2, 1766, pp. 372-373.]
+
+    [Footnote 27: Bewick, 1925, p. 213.]
+
+    [Illustration:
+    Illustration for Albrizzi’s _Istoria_, in which it was cut No. 136.
+    From Hertz’s _Biblia Sacra_, vol. 1.
+    Actual size.]
+
+The cylinder press of Jackson’s design was finished in 1735 and paid for
+by the income from prolonged sieges of work for printing offices. But
+the overwork and resulting exhaustion laid him low; a serious illness
+followed and for several months he was close to death. When he
+eventually regained his health he found that his cuts for Baglioni and
+Pezzana had been copied and mutilated by an engraver at Ancona. This
+pirate was encouraged by the head of a large printing establishment
+newly founded in Venice, who thereupon offered Jackson work at greatly
+reduced prices. He refused the offer. With hack woodcutters now stealing
+both his designs and his manner of cutting, and working at a far lower
+rate than he could afford, he found that the market for his higher
+priced work had almost entirely disappeared. He still received
+occasional commissions, among others the title page to a translation of
+Suetonius’ _Lives of the Twelve Caesars_, printed by Piacentini in
+Venice in 1738. His splendid design, which shows considerable burin
+work, is at odds with the crudity of the remainder of the book. Inferior
+hands reproduced in woodcut outline Hubert Goltzius’ medallion portraits
+of Roman emperors, originally executed in chiaroscuro (see p. 22).
+Stimulated, no doubt, by the combination of chiaroscuro and antiquity,
+Jackson produced a portrait of Julius Caesar in four tones of brown
+after Egidius Sadeler’s engraving of a subsequently lost painting
+attributed to Titian. This was not the only time Jackson translated a
+line engraving and added chiaroscuro modeling of his own. He did not
+make line-for-line copies. Jackson was interested in broad effects even
+when leaning heavily on the delicate linear conventions of line
+engraving. The lines, therefore, are firm and widely spaced, like
+photographically enlarged details of copper-plate work. Apparently
+Jackson felt that the addition of one or two tones from wood blocks
+would supply the intermediate tints and at the same time would prevent
+the line system from becoming obtrusive.
+
+The decided influence of line engraving was probably the result of his
+association in 1731 with G. A. Faldoni in Venice. Influenced by Claude
+Mellan, this engraver made use of swelling parallel lines to create
+tonal gradations. Jackson had first become interested in this technical
+method through Ecman’s woodcuts after Callot, and once Faldoni had
+strengthened the attraction he found kindred influences in the
+engravings of Villamena and Alberti, particularly the former, from whom
+he also acquired design ideas he later put to use in his wallpapers.
+Jackson’s discovery that he could to some extent use copper-plate
+techniques was not a reversion to the style of the Parisian group of Le
+Clerc copyists. Jackson used the line system as a means for creating
+forms in conjunction with tones; the Parisian woodcutters used it to
+imitate the delicate quality of line engraving. He had a formal
+aesthetic end in view; their purpose was to render realistic details in
+a decorative framework.
+
+With opportunities for book illustration gone, Jackson was in a
+difficult position. His novel chiaroscuro experiments had consumed
+valuable time and had lost him his standing as a steady worker for
+printers. Near destitution and scouting around for fresh applications of
+the woodcut, he decided to make prints for wallpaper on his new press.
+It was a logical step for Jackson, not only because he knew something of
+the process but also because he could make use of the chiaroscuro blocks
+already prepared. Late in 1737 or early in 1738 he had his first samples
+ready and sent them to Robert Dunbar in London, together with his
+conditions for carrying on the trade in Venice. Negotiations dragged,
+and Dunbar died before they could come to terms, but the idea of using
+his skill and his machine for turning out wallpaper continued to occupy
+his mind as a possibility. But, for the time, the undertaking had to be
+laid aside while Jackson looked for more immediate means of employment.
+
+At this juncture Joseph Smith befriended him. A merchant of long
+standing in Venice, who became the British consul there in 1745, Smith
+was a bibliophile, gem collector, and connoisseur of the arts. In spite
+of Walpole’s sneering reference to him as “the merchant of Venice,” it
+must be said that he was expert in his fields of interest. He had
+excellent taste. His fine collection of books was purchased by George
+III in 1765, and the small Rembrandt _Descent from the Cross_ once in
+his possession is now in the National Gallery in London.
+
+From Smith’s bronze statuette of Neptune, by Giovanni da Bologna,
+Jackson produced a chiaroscuro print in four blocks, in imitation, he
+asserted, of the prints of Andrea Andreani.[28] In suggesting the
+influence of this master, Jackson did not refer to his technique or
+style but to his subject: in 1584-1585 Andreani had produced a
+chiaroscuro series after other statues by Giovanni da Bologna (B. XII,
+VI, 1-4).
+
+    [Footnote 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.]
+
+The next work in Smith’s collection to be reproduced in chiaroscuro was
+Rembrandt’s _Descent from the Cross_. Jackson was evidently well
+satisfied with the results, and with good reason. It is an extremely
+effective print, with pale yellow lights and transparent shadows. The
+drawing is remarkable in its feeling for the Rembrandtesque style. The
+sky and other parts show English white-line burin work of the type found
+in Mattaire’s _Latin Classics_ and Croxall’s _Aesop’s Fables_. The
+_Enquiry_ says (p. 45):
+
+  As this Painting was extremely favourable for this sort of Printing,
+  he endeavoured to display all his Art in this Performance, and the
+  Drawing of _Rembrandt’s_ Stile is intirely preserved in this Print;
+  it is dedicated to Mr. _Smith_, who generously gave the Prints to
+  all Gentlemen who came to _Venice_ at that time in order to
+  recommend the Talents of a Man whose Industry might please the
+  curious, and at least be of some Use to procure him Encouragement to
+  proceed in other Works of that Kind.
+
+Encouragement soon came. Smith interested two of his friends, Charles
+Frederick and Smart Lethieullier, and the three proposed in 1739 the
+undertaking of a grand project in chiaroscuro, the reproduction of 17
+huge paintings by Venetian masters. This was to be financed by
+subscription, says the _Enquiry_ (p. 46):
+
+  the Proposals in _French_, and the Conditions expressed therein,
+  were drawn up as they thought proper, without consulting the
+  Difficulties that must attend an Enterprize that required some years
+  to accomplish.
+
+Their own subscriptions were no doubt generous but Jackson found that
+his total income from this form of financing, together with possible
+future sales, would hardly cover his expenses. Other hazards made his
+situation even worse. War broke out in Europe before he was halfway
+through, and many English gentlemen, his potential subscribers, left the
+country. This exodus meant financial disaster, but Jackson kept at his
+task. He should, he said, have gone to England for his own best
+interests but felt that he couldn’t disappoint his distinguished
+patrons.
+
+The first print completed was after Titian’s _St. Peter Martyr_ at the
+Dominican Church of Sts. Giovanni and Paolo. In coloring it is similar
+to the Rembrandt print, with gray-green sky, yellow lights, and cool
+brown shadows. While attractive and forceful, it is not as effective as
+the Rembrandt because Titian, with his greater range of color, presented
+a more complex problem. Most of the prints thereafter leaned to
+monochromes in either browns or greens. The _St. Peter_ was finished in
+1739 and in the same year five more prints were brought to completion.
+
+In 1740 he produced the three sheets which made up Tintoretto’s
+_Crucifixion_ in the Scuola di San Rocco.[29] These were intended to be
+joined, if desired, to form one long print measuring about 22 × 50
+inches.
+
+    [Footnote 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.]
+
+Of the ten remaining subjects, the last, Jacopo Bassano’s _Dives and
+Lazarus_, was finished at the end of 1743, and the set of 24 plates
+(some paintings, as noted, were reproduced in three sheets and some in
+two) was published as a bound volume by J. B. Pasquali in Venice, 1745,
+under the title _Titiani Vecelii, Pauli Caliarii, Jacobi Robusti et
+Jacobi de Ponte; opera selectiora a Joanne Baptista Jackson, Anglo,
+ligno coelata et coloribus adumbrata_.
+
+The Venetian prints were not merely an extension of chiaroscuro, they
+represented a daring effort to go beyond line engraving for reproducing
+paintings. Justification for this attempt is given in the _Essay_
+(p. 6):
+
+  ... and though those delicate Finishings, and minute Strokes, which
+  make up great Part of the Merit of engraving on Copper, are not to
+  be found in those cut on Wood in _Chiaro Oscuro_; yet there is a
+  masterly and free Drawing, a boldness of Engraving and Relief, which
+  pleases a true Taste more than all the little Exactness found in the
+  Engravings on Copper Plates ... and indeed has an Effect which the
+  best Judges very often prefer to any Prints from Engravings, done
+  with all that Exactness, minute Strokes of the Graver, and Neatness
+  of Work, which is sure to captivate the Minds of those whose Taste
+  is formed upon the little Considerations of delicately handling the
+  Tools, and not upon the Freedom, Life and Spirit of the separate
+  Figures, and indeed the whole Composition.
+
+A novel device, embossing, was employed to give added strength to the
+prints. This development had been foreshadowed by earlier prints and
+pages of text which showed a slight indentation where the dampened paper
+received the impression. Embossing had probably first been used
+systematically by Elisha Kirkall in 1722-24, and by Arthur Pond in his
+chiaroscuros, made in 1732-36 in conjunction with George Knapton, after
+drawings by old masters. Jackson admired Pond’s work even though it
+combined etched outlines with two tone blocks printed from wood.[30]
+Pond’s embossing was delicate and applied sparely only in certain forms,
+such as ruined columns, but Jackson’s sunken areas were heavier and
+franker, consciously intended to give an all-over effect. Since the
+paper could not be pressed out without weakening the embossing, it often
+took on the scarred and buckled look that characterizes the Venetian
+chiaroscuros.
+
+    [Footnote 30: _Enquiry_, p. 35. The Japanese began to use
+    embossing about 1730. See Reichel, 1926, p. 48.]
+
+The set had occupied him for 4½ years, during which he had planned, cut,
+and proofed 94 blocks.
+
+  No sooner was that ended, and a little Breathing required after that
+  immense Fatigue, in the Year 1744 he attempted to print in Colours,
+  and published six Landskips in Imitation of Painting in Acquarello.
+
+    [Illustration:
+    Title page for _Gajo Suetonio tranquillo, le vite de’dodici
+    Cesari_, Piacentini, Venice, 1738.]
+
+This new set, dedicated to Robert d’Arcy, British Ambassador to the
+Republic of Venice, was based on gouache paintings by Marco Ricci,
+probably done on goatskin or leather in his usual manner. For Jackson to
+make these color prints was a logical step, since his work had tended
+toward the full chromatic range even in the chiaroscuros, which
+“adumbrated” color. His new prints were all color-- clear, sensitive,
+and tonally just. It is not surprising that he seized upon Ricci’s
+opaque watercolors. The paintings of the Venetian masters had darkened
+in ill-lit churches, the shadows had become murky, there were too many
+figures. But the Ricci paintings were small and clearly patterned, the
+color sparkled.
+
+The original gouaches have not been located, but from other examples in
+the same manner, in Buckingham Palace and in the Uffizi, it is plain
+that Jackson took certain liberties. Ricci’s rather sharp colors were
+considerably modified and mellowed when they weren’t changed entirely:
+witness the two sets in different harmonies in the British Museum. Peter
+A. Wick (1955) believes it most likely that Jackson did not copy
+specific paintings, and suggests that details from Ricci’s etchings and
+gouaches were combined and freely amended to create Ricci-like designs.
+
+Having determined his color scheme Jackson cut seven to ten blocks, each
+designed to bear an individual color which was to combine with others
+when necessary to form new colors. No outline block was used. To obtain
+variations from light to dark in each pigment Jackson scraped down the
+blocks with a knife; he thus lowered the surfaces slightly and created
+porous textures which would introduce the white paper or the underlying
+color. Examination of the prints clearly shows granular textures in the
+light areas. Scraping to lighten impressions was a common procedure in
+black-and-white printmaking, and was described by both Papillon and
+Bewick. In addition Jackson no doubt used underlays, that is, small
+pieces of paper pasted in layers of diminishing size on the backs of the
+blocks where the color was most intense. The pressure was therefore
+greatest in the deepest notes and lightest in the scraped parts. The
+copper plate press enabled Jackson to get good register without making
+marks on the blocks. The paper was dampened and fastened to the chase at
+one end. After each impression the next inked block was slid into the
+chase and printed wet into wet. Problems of register were eliminated
+because the sheets were held in place at all times, the blocks fitting
+the same form. No doubt the paper was sprinkled with water on the
+reverse side after each impression to eliminate shrinking and to keep it
+soft for printing. This method would explain Jackson’s transparent
+effects.
+
+Although the Ricci prints were certainly the most ambitious and
+complexly planned prints of the century, the cutting is crisp and
+decisive and the effect fresh and unlabored. As in the Venetian set
+embossing is consciously applied. Most likely Jackson impressed the
+finished prints, specially redampened for the purpose, with one or two
+of the uninked blocks. Jackson interpreted Ricci’s qualities with great
+spirit, and in doing so he liberated the color woodcut from its old
+conventions. The “true”-color prints he produced in the medium preceded
+the Japanese, if not the Chinese.[31] In Japan, it must be remembered,
+simple color printing in rose and green supplanted hand coloring in
+about 1741, and rudimentary polychrome prints can be dated as early as
+1745, but, as Binyon[32] puts it, “it was not until 1764 that the first
+rather tentative _nishiki-ye_, or complete colour-prints were produced
+in Yedo, and the long reign of the Primitives came to an end.”
+
+    [Footnote 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.]
+
+    [Footnote 32: Laurence Binyon, _A Catalogue of Japanese & Chinese
+    Woodcuts in the British Museum_, London, 1916, p. xx,
+    introduction.]
+
+In making his Ricci prints Jackson sought a method of color printing
+that would overcome the deficiencies of Jacob Christoph Le Blon’s
+three-color mezzotint process. Le Blon, a Frenchman born in Germany, had
+begun experimenting with color printing as early as 1705. His idea was
+to split the chromatic components of a picture into three basic hues--
+blue, red, and yellow-- in gradations of intensity so that varying
+amounts of color, each on a separate copper plate, could be printed in
+superimposition to reconstitute the original picture. This was based
+upon a simplification of Newton’s seven primaries. Later, Le Blon added
+a fourth, black plate. Incredibly, this is the principle of modern
+commercial color printing, the only difference being that Le Blon did
+not have a camera, color filters, and the halftone screen at his
+disposal and had to make the separations by hand. Le Blon came to London
+in 1719, produced an enormous number of color prints, published his
+_Coloritto, or the Harmony of Colouring in Painting_ in a very small
+edition about 1722 (it is undated), and shortly thereafter failed
+disastrously. About 1733 he returned to Paris, where he attracted a few
+followers. Most of his prints have disappeared, only about fifty being
+known at present.
+
+    [Illustration:
+    Trial proof of the key block of center sheet of _The Crucifixion_,
+    after Tintoretto. National Gallery of Art (Rosenwald Collection).]
+
+    [Illustration:
+    TRIAL PROOF of the key block of _Christ on the Mount of Olives_,
+    after Bassano. National Gallery of Art (Rosenwald Collection).]
+
+The idea of full-color printing, then, was in the air, although later,
+in the _Enquiry_, Jackson took pains to state that he had not been
+following in the footsteps of the Frenchman, who, he claimed, had made
+serious mistakes.
+
+  The Curious may think that this Tentamine was taken from the
+  celebrated Mr. _le Blond_; I must here take the Liberty to explain
+  the Difference.... Numbers are convinced already, that the printing
+  Copper-plates done with _Fumo_ or _Mezzotinto_, are the most subject
+  to wear out the soonest of any sort of Engraving on that Metal. Had
+  this one Article been properly considered, _le Blond_, must have
+  seen the impossibility of printing any Quantity from his repeated
+  Impressions of Blue, Red, and Yellow Plates, so as to produce only
+  Twenty of these printed Pictures to be alike. This is obvious to
+  every one who has any Knowledge, or has seen the cleaning of
+  Copper-plates after the Colour was laid on; the delicate finishing
+  of the Flesh must infallibly wear out every time the Plate is
+  cleaned, and all the tender light Shadowing of any Colour must soon
+  become white in proportion as the Plate wears. The Nature of
+  Impression being overlooked at first, was the principal Cause that
+  Undertaking came to nothing, notwithstanding the immense Expence the
+  Proprietors were at to have a few imperfect Proofs at best, since it
+  is evident they could be no other. The new invented Method of
+  printing in Colours by Mr. _Jackson_ is under no Apprehension of
+  being wore out so soon.... Whatever has been done by our _English_
+  Artist, was all printed with Wood Blocks with a strong Relievo, and
+  in Substance sufficient to draw off almost any number that may be
+  required.
+
+What Jackson neglected to mention was the difficulty of repeating
+transparent color effects with large planks of wood. Few existing
+impressions match each other and some prints are off register. What
+saved him was his fine color sense, his brilliance as a woodcutter, and
+his disinclination to make literal color reproductions.
+
+The work that Jackson left behind became a part of the cultural heritage
+of Venice, valued on its own account as well as for its connection with
+the city. Zanetti[33] describes the Venetian set and Zanotto,[34] in his
+_Guida_ of 1856, urges a visit to the Chiesa Abaziale della
+Misericordia, which evidently had on permanent exhibition a “perfectly
+unique collection of woodcuts in various colors by Jackson, quite
+unmatched.”
+
+    [Footnote 33: Zanetti, 1792, pp. 689, 716.]
+
+    [Footnote 34: Zanotto, 1856, p. 320, note 3.]
+
+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.
+
+    [Footnote 35: Gallo, 1941, pp. 23-23. Jackson’s blocks are not
+    listed in the Remondini catalog of 1817.]
+
+
+_England Again: The Wallpaper Venture_
+
+Jackson was married in Venice-- whether to an Italian we do not know--
+and when he left the city in 1745 to return to England he took a family
+along. He mentions “an impoverish’d Family” in the _Essay_, but beyond
+this we know nothing of his personal life.
+
+As soon as he arrived in England he was invited to work in a calico
+establishment, where he remained about six years. But making drawings to
+be printed on cloth failed to give him the scope he required. At the
+back of his mind was the passion to work with woodblocks in color. This
+led him to take a bold and hazardous step-- to leave his position and
+attempt, obviously with little capital, the manufacture of wallpaper,
+not to please an established taste but to educate the public to a new
+type of product.
+
+Wallpaper had come into popular use in England in the late 17th century,
+having been obtained from China by the East India Company. These
+hand-painted wall hangings, imported at great cost and in small
+quantities, were correspondingly expensive. The subjects were gay and
+fanciful-- birds, fans, Chinese kiosks, pagodas, and flowers. Highly
+desired because they offered an escape from the heavy grandeur of the
+Baroque style, they were subsequently imitated by assembly-line methods.
+They fitted naturally into the developing _rocaille_ style (corrupted
+into Rococo outside of France), and it is not surprising that they were
+also produced extensively in Paris. In England these imitations, which
+formed a substitute for expensive velvet and damask hangings, completely
+dominated the wallpaper field.
+
+The first notice of Jackson’s venture appeared in the _Gentleman’s
+Magazine_ of February 1752.[36] A letter signed “Y. D.” praised the
+editor “Sylvanus Urban” for attempting to revive the art of cutting on
+wood. It mentioned that this art was in decline for more than a century,
+but noted that--
+
+  Two of our countrymen, _E. Kirkall_ and _J. B. Jackson_, ought to be
+  exempted from this general charge; the former having a few years ago
+  introduced the _Chiaro Oscuro_ of _Hugo de Carpi_ into England,
+  though he met with no extraordinary encouragement for his ingenuity;
+  and the art had died with him had not the latter attempted to revive
+  it, but with less encouragement than his predecessor. _Mr. Jackson_,
+  however, has lately invented a new method of printing paper hangings
+  from blocks, which is very ornamental, and exceeds the common method
+  of paper-staining (as it is termed) by the delicacy of his drawings,
+  the novelty of his designs, and the masterly arrangement of his
+  principal figures.
+
+    [Footnote 36: Vol. 22, pp. 77-79.]
+
+The next notice appeared in the _London Evening Post_ of April 30-May 2,
+1752:
+
+  New invented PAPER HANGINGS, printed in Oyl, which prevents the
+  fading or changing of the Colours; as also Landscapes printed in
+  Colours, by J. B. Jackson, Reviver of the Art of printing in Chiaro
+  Oscuro, are to be had at Dunbar’s Warehouse in Aldermanbury, London;
+  or Mr. Gibson’s, Bookseller, opposite the St. Alban’s Tavern in
+  Charles-street near St. James’s-Square, and no where else.
+
+Several months afterwards, in the September 1752 issue of _Gentleman’s
+Magazine_, publication of the _Enquiry into the Origins of Printing in
+Europe_ was announced.
+
+The _Enquiry_ is an odd book. It combines rewritten versions of two
+Jackson manuscripts, a study of the origins of printing in Europe and an
+autobiographical journal covering, we suppose, the years from about 1725
+on. The writer, in his introduction, says that he had been attracted by
+the two notices mentioned and went to see Jackson, whom he already knew
+by reputation. As a “Lover of Art” he considered it his duty to acquaint
+the public with Jackson’s ideas concerning the origins of printing.
+These ideas, he felt, were an important contribution. After devoting
+half the little book to a rambling account of this subject, including a
+short history of woodcutting from Dürer onward, the author suddenly
+shifts to the journal. It is regrettable that he condensed it because we
+do not know what was left out. It is possible that much autobiographical
+information was excluded, as well as a picture of woodcutters and
+woodcutting of the time. The book concludes with the statement that
+Jackson intended to print in October of that year (1752) a paper hanging
+in two sheets after an original painting “by _F. Simonnetta_ of
+_Parma_”[37] representing the battle fought near that city in 1738.
+
+    [Footnote 37: There is little doubt that Jackson meant Francesco
+    Simonini (1686-1753), a painter of battle subjects who was born in
+    Parma and lived in Venice in the 1740’s.]
+
+This print was to be in full color, 3 feet 6 inches long by 2 feet high,
+and was to serve as a specimen for a series of four of the same size,
+the others being “History, Pictures and Landscapes.” They were to be
+done by subscription:
+
+  No Money will be required of the Subscribers till the Prints are
+  finished, and only at the Delivery. It is to be hoped the Curious
+  and the Public will encourage this Undertaking, by a Man who has
+  spent the greatest Part of his Life in searching after and improving
+  an Art, believed by all to be lost, and has restored it to the
+  Condition we now see it in his Works.
+
+The only known copy of this battle picture, made from about seven
+blocks, is in the Print Room of the British Museum. It is a magnificent
+piece. Probably nothing with this breadth of handling had ever been done
+in woodcut before. The color is grave and beautifully harmonized,
+although the paper has deteriorated and the colors have darkened
+somewhat. The blocks were cut with ardor, almost fury; everything is
+brought to life with masterly assurance. Martin Hardie, who made the
+only previous comment on this print, which he could only surmise was
+Jackson’s, says:[38] “Jackson’s supreme achievement is a large battle
+scene, with wonderful masses of rich colour superbly blended,
+reminiscent of Velasquez in breadth, in dignity, and in glory of tone.”
+
+    [Footnote 38: Hardie, 1906, p. 23.]
+
+There were competitors in London, among them Matthias Darley, who
+produced papers in the Chinese style; Thomas Bromwich, who was
+patronized by Walpole; and Robert Dunbar, Jr., of Aldermanbury, who in
+addition sold Jackson’s papers. They lacked both Jackson’s gifts and his
+unreasonable standards but they produced more generally acceptable
+wallpaper with greater facility. These competitors did not work in oil
+colors, like Jackson. Transparent tints were too difficult to control,
+especially when applied with inking balls (composition rollers did not
+come into use until well after 1800), and effects were too heavy. They
+used distemper-- powdered color mixed with glue and water, with chalk
+added to give body. This was sometimes applied with woodblock or stencil
+but most often it was simply painted in by hand over a blockprinted
+outline. Often the painting was done directly on the wall after the
+paper was hung. These wallpapers were weak when examined critically, but
+nobody worried as long as a light bright pastel effect was obtained.
+Jackson’s vigorous drawing and woodcutting were out of place in this
+field. They were, like his tonal exactitude that made holes in the wall,
+a distraction and an offense against interior decoration.
+
+Jackson’s business, therefore, did not prosper. In a last effort to stir
+up public interest he published, in 1754, his well-known little book,
+_An Essay on the Invention of Engraving and Printing in Chiaro Oscuro_,
+illustrated with eight prints in “proper colours.” It sold for two
+shillings and sixpence. The style was rather florid but his arguments
+were presented with such vigor that it is easy to see why critics have
+found it difficult to refrain from quoting at length. The main body of
+text is only eight pages long, with an additional eight pages of
+subsidiary descriptive material attached to the pictures.
+
+On the title page appeared his favorite passage from Pascal, used
+previously on the title page of the _Enquiry_: “Ceux qui sont capables
+d’inventer sont rares: ceux qui n’inventent point sont en plus grand
+nombre, et par conséquent les plus forts.” The first few pages of the
+_Essay_ enlarge on this theme:
+
+  It has been too generally the Fate of those who set themselves to
+  the Inventing any Thing that requires Talents in the Discovery, to
+  apply all their Faculties, exhaust their Fortune, and waste their
+  whole Time in bringing that to Perfection, which when obtained, Age,
+  Death, or Want of sufficient Supplies, obliges them to relinquish,
+  and to yield all the Advantages which their Hopes had flattered them
+  with, and which had supported their Spirits during their Fatigues
+  and Difficulties, to others; and thus leave behind them an
+  impoverish’d Family incapable to carry on their Parent’s Design, and
+  too often complaining of the projecting Genius of that Father who
+  has ruin’d them, tho’ he has enriched the Nation to which he
+  belonged, and to which of Consequence he was a laudable Benefactor.
+
+He proceeds in this bitter vein for a time, then brings into the open
+the main purpose of the book:
+
+  Another Reason perhaps is, that the Artist being totally engaged in
+  the Pursuit of his Discovery, has but little Time to apply to the
+  Lovers and Encouragers of Art for their Patronage, Protection, and
+  Supplies necessary for the carrying on such a Design, or he has not
+  Powers to set the Advantage which would result from it in a true
+  Light; nor communicate in Words what he clearly conceived in Idea:
+  for certainly there are Men enough, who from the mere Desire of
+  increasing their Wealth, would give him that Assistance, which, like
+  the artificial Heat of a Greenhouse, would bring that Art to a
+  Ripeness, which would otherwise languish and die under the Coldness
+  of the first Designer, and which in this Union of Riches and
+  Invention would yield mutual Advantage to both.
+
+  There are besides this amongst the Great, without Doubt, many who
+  would gladly lend their Patronage to rising Arts, if they knew their
+  Authors....
+
+He gives as example the Duke of Cumberland, who had just sponsored a
+tapestry plant at Fulham, and follows with an outline of the honorable
+traditions of the woodcut, pointing out that Dürer, Titian, Salviati,
+Campagnola, and other painters drew their work on woodblocks to be cut
+by woodcutters, and adds that “even _Andrea Vincentino_ did not think it
+in the least a Dishonour, though a Painter, to grave on Wood the
+Landscapes of _Titian_.” He builds up to the statement that Raphael and
+Parmigianino drew on woodblocks to be cut in chiaroscuro by Ugo da
+Carpi.
+
+  After having said all this, it may seem highly improper to give to
+  Mr. _Jackson_ [he speaks of himself throughout in the third person]
+  the Merit of inventing this Art; but let me be permitted to say,
+  that an Art recovered is little less than an Art invented. The Works
+  of the former Artists remain indeed; but the Manner in which they
+  were done, is entirely lost: the inventing then the Manner is really
+  due to this latter Undertaker, since no Writings, or other Remains,
+  are to be found by which the Method of former Artists can be
+  discover’d, or in what Manner they executed their works; nor, in
+  Truth, has the _Italian_ Method since the Beginning of the 16th
+  Century been attempted by any one except Mr. _Jackson_.
+
+We cannot help concluding that Jackson was falsifying here. Taking
+advantage of the public’s ignorance, he was puffing up his historical
+importance in order to sell wallpaper. If the _cognoscenti_ complained
+that he had buried the chiaroscurists after da Carpi, he always had the
+explanation that others did not work in the Italian style, which he
+neglected to describe. Jackson knew what he was doing; he was not as
+ignorant of art history as Hardie and Burch have surmised, although it
+is true that he was not always certain as to dates, since he believed
+Andreani worked as a contemporary of da Carpi. In the _Enquiry_,
+published only two years earlier, he had shown familiarity with the
+prints of Goltzius, Coriolano, Businck, Nicolas and Vincent Le Sueur,
+Moretti, and Zanetti, all of whom had worked to some extent in the
+Italian manner.
+
+Some writers have reacted strongly to this paragraph. Losing their sense
+of proportion, they have been led to the conclusion that Jackson was
+little better than a charlatan and that his work as a whole reflected
+his low ethics. In some instances his culpability has been magnified:
+Bénézit has even charged him with claiming to have invented color
+printing.
+
+The worst result of Jackson’s insistence on re-inventing the Italian
+manner was that it made a major issue of what was at best a minor honor.
+It minimized such technical contributions as the following, which did
+not follow traditional recipes:
+
+  ... Mr. _Jackson_ has invented ten positive Tints in _Chiaro
+  Oscuro_; whereas Hugo di Carpi knew but four; all of which can be
+  taken off by four Impressions only.
+
+This technical system was used for the Venetian chiaroscuros, the
+portrait of Algernon Sidney after Justus Verus, and others. He did not
+mention that he needed a greater range of tones because he was working
+after oil paintings, not drawings. The introduction of full color from a
+series of blocks to translate water colors is also mentioned in the
+_Essay_, but with no greater emphasis than in the _Enquiry_. Since his
+wallpaper was to be done in color as well as in chiaroscuro, and since
+the _Essay_ included four plates in color, it is astonishing that
+Jackson failed to make stronger claims for his originality in this
+development.
+
+He proceeded to describe his plan to replace wallpapers in the Chinese
+style with his papers, which, he stated, would have no “...gay glaring
+Colours in broad Patches of red, green, yellow, blue &c ... [with] no
+true Judgment belonging to it ... Nor are there Lions leaping from Bough
+to Bough like Cats, Houses in the Air, Clouds and Sky upon the
+Ground....”
+
+He proposed, instead, to use as subjects many of the famous statues of
+antiquity; the landscapes of Salvator Rosa, Claude Lorrain, Poussin,
+Berghem, Wouwerman, the views of Canaletto, Pannini--
+
+  Copies of the Pictures of all the best Painters of the _Italian_,
+  _French_ and _Flemish_ Schools, the fine sculptur’d Vases of the
+  Ancients which are now remaining; in short, every Bird that flies,
+  every Figure that moves upon the Surface of the Earth from the
+  Insect to the human; and every Vegetable that springs from the
+  Ground, whatever is of Art or Nature, may be introduced into this
+  Design of fitting up and furnishing Rooms, with all the Truth of
+  Drawing, Light, and Shadow, and great Perfection of Colouring.
+
+This vast gallery of art and nature was to be printed in “Colours
+softening into each other, with Harmony and Repose....”
+
+Even if we feel that Jackson was building up his project to attract
+attention, or that he was intoxicated by the idea of creating art on
+such a grand scale, there is still something wrong in his conceiving it
+in terms of wallpaper. What is certain is that Jackson was desperately
+anxious to create color prints. In the absence of art patrons, wallpaper
+was his only excuse for continuing as an artist. As a business venture
+it was absurd, even tragic. There is good reason to believe that Jackson
+lacked capital and rented the quarters for his business: his name does
+not appear in the Poor Rate Book of that period in the Borough of
+Battersea.
+
+From a certain standpoint, this excursion by Jackson into wallpapers
+featuring Roman ruins and classical antiquity appeared to come at an
+appropriate time. Marco Ricci’s paintings as well as the somewhat later
+work of Pannini and Zuccarelli, and Guardi’s early ruin pieces, were
+already known. Ricci had visited England from 1710 to 1716. Zuccarelli
+had come twice, once in 1742 and again in 1751 to stay until 1773,
+becoming a foundation member of the Royal Academy; his classical
+landscapes with their glib charm had a comparatively good reception. But
+the strongest influence was undoubtedly that of Piranesi, whose powerful
+etchings brought to life as never before the ravaged stones of Imperial
+Rome and the _Campagna_. Their effect was widespread and electrifying,
+although it was not until the 1760’s that they developed their full
+force as an influence on English architecture and furniture design, and
+came to supersede the Palladian style brought to England by Inigo Jones
+at the beginning of the 17th century.
+
+Jackson was too early; public taste was not yet ready for picturesque
+landscape or antique forms in wallpaper. But the style became dominant
+in the latter 18th century, particularly in England and France, and was
+also exported to America. While it is difficult to estimate the degree
+of Jackson’s influence in this development, we know that no scenic
+papers can be dated before the Ricci prints, or before Jackson’s
+wallpaper venture. Oman[39] comments:
+
+  The use of wall-paper to imitate large architectural designs dates,
+  as we have seen, from the days of J. B. Jackson. During the
+  remainder of the century this style was used almost exclusively for
+  decoration of the halls and staircases of great houses.
+
+    [Footnote 39: Oman, 1929, p. 33.]
+
+These papers covered rooms with landscape panoramas or with landscapes
+in Rococo scroll frames, relieved by decorative panels with busts,
+statuettes, and floral ornaments. As in preceding work, they were
+usually painted in opaque water colors. Most of the landscapes were
+loose transcriptions of designs by Pannini, Vernet, Lancret and other
+painters of architectural, scenic, and pastoral subjects. The treatment
+was generalized and superficial, the touch light and detached.
+
+In this approach to wallpaper we see the basic ideas of Jackson, but
+with more emphasis on charm and elegance. Ironically, as years passed
+and original sources grew obscure, it became the tendency to attribute
+scenic papers in great houses to Jackson.[40] If he was a failure as a
+pioneer in the field, he remained its most highly prized legend.
+
+    [Footnote 40: An excellent description of the papers of this type
+    imported to America is given by Edna Donnell in _Metropolitan
+    Museum Studies 1932_, vol. 4, pp. 77-108.]
+
+The _Essay_ continued with a criticism of the current taste in
+wallpaper. Jackson enlarged on the lack of discrimination of persons who
+would prefer popular papers to his.
+
+  It seems, also, as if there was great Reason to suspect wherever one
+  sees such preposterous Furniture, that the Taste in Literature of
+  that Person who directed it was very deficient, and that it would
+  prefer _Tom D’Urfy_ to _Shakespear_, _Sir Richard Blackmore_ to
+  _Milton_, _Tate_ to _Homer_, an _Anagrammatist_ to _Virgil_,
+  _Horace_, or any other Writer of true Wit, either Ancient or Modern.
+
+He added that his prints, made in oil colors, would be permanent
+“whereas in that done with Water-Colours, in the common Way, Six Months
+makes a very visible Alteration in all that preposterous Glare, which
+makes its whole Merit....”
+
+The _Essay_ has eight plates, four of ancient statues in chiaroscuro and
+four of plants, animals, and buildings, in probably six colors. They
+were hastily done and no doubt had a rather fresh charm when published,
+but unfortunately the oil in the pigments was inferior, and every print
+in the book has darkened and yellowed badly. The prints and neighboring
+pages are heavily spotted and stained. This book which should have been
+his vindication became instead an argument for his lack of merit,
+especially to those who were not familiar with his other work.
+
+We do not know how large a working force Jackson had or how many of the
+projected plates he planned to assign to helpers or to carry out
+himself. Some of the decorative borders from four blocks, blue, red,
+yellow, and gray-green, he undoubtedly made and printed himself. They
+are heavy and rather fruity in effect but are incisively drawn and cut.
+Also bearing Jackson’s stamp are some ornamental frames with fruit and
+flowers in the same full range of colors.
+
+An album ascribed to him, in the collection of the Victoria and Albert
+Museum, contains drawings of flowers, foliage, details of ornament and
+hand-colored designs, and a proof of the woodcut for the title page to
+the _Suetonius_ of 1738. Five of the drawings are signed or initialed by
+Jackson, with dates from 1740 to 1753. The designs, which might have
+been intended for calico or wallpaper, are poorly done and not at all in
+his style. The drawings are competent but cannot definitely be
+considered his, notwithstanding the signatures, since we do not know
+Jackson’s handwriting from other sources. The most that can be said for
+this album is that it probably comes from his workshop.
+
+While producing wallpaper, Jackson still made efforts to attract
+sponsors for full editions of his earlier chiaroscuros. The _Woman
+Meditating_ was dedicated to the Antiquarian Society of London. _Christ
+Giving the Keys to St. Peter_, rejected by Crozat, we assume, was
+dedicated to Thomas Hollis, whom Jackson may have met in Venice. And the
+_Venus and Cupid with a Bow_ was inscribed to Thomas Brand, lifelong
+companion of Hollis who later added to his name the latter’s patronymic.
+The _Algernon Sidney_ has no dedication, but since Hollis was a Sidney
+specialist and edited the first one-volume edition of his works in 1769,
+there is a strong likelihood that the print had some connection with
+this liberal gentleman. Jackson made it either in Venice just before he
+left, or in England shortly after his arrival.
+
+Robert Dunbar, Jr., who had inherited the wallpaper manufactory on his
+father’s death, went out of business late in 1754. In his possession was
+a quantity of Jackson’s papers, for which he was the main outlet. With
+this backlog of papers on hand, and no large distributor, Jackson’s
+venture collapsed. This happened shortly after the publication of the
+_Essay_, and its author was never to have the opportunity to carry out
+his grandiose plans.
+
+Jackson appealed to Hollis, who wrote to his former mentor, Dr. John
+Ward, professor of rhetoric at Gresham College and the head of a society
+founded by noblemen and gentlemen for the encouragement of learning:[41]
+
+  Dear Sir!-- Do Me the Favour to accept these four prints of
+  Jackson’s. They are no where sold, & will soon be scarce. When You
+  consider their Merit, I am confident You will lament the hard Fate
+  of the ingenious Artist; who, at this Time, in his old age, & in his
+  own Country is unprotected unnoticed, and can difficultly support
+  Himself against immediate distress & Ruin.
+
+  I am, with great Respect,
+
+  Dear Sir!
+
+      Your obliged affect humble Servant
+
+      T. Hollis
+
+  Bedford Street, February 10, 1755
+
+    [Footnote 41: British Museum Add. mss. 6210.]
+
+We do not know the results of this appeal. In any case Jackson seems to
+have faded out as an artist. Little is known of his subsequent career up
+to the time more than twenty years later, when Bewick mentions meeting
+him in advanced age. In 1761 he made a drawing of Salisbury Cathedral
+for Edward Eaton, “bookseller at Sarum,” for a line engraving dedicated
+by Eaton to the Lord Bishop of Winchester. This large view included
+figures in the foreground in an attempt to give animation to the scene.
+Unfortunately the engraver, John Fougeron, was little more than an
+amateur. His execution was feeble and mechanical: Jackson’s drawing
+suffered so badly that its quality cannot be determined. This print was
+copied on a smaller scale in a steel engraving by J. B. Swaine,
+published by J. B. Nichols & Son in 1843, but it was hardly an
+improvement.
+
+Bewick’s recollections of Jackson, written about forty years after their
+meeting in Newcastle, imply that Jackson stayed in that city for a
+period. The Town Clerk’s Office, however, has no record of his
+residence. The following passage from Bewick’s _Memoir_ is the last
+evidence[42] bearing on Jackson:
+
+  Several impressions from duplicate or triplicate blocks, printed in
+  this way, of a very large size, were also given to me, as well as a
+  drawing of the press from which they were printed, many years ago,
+  by Jean Baptiste Jackson, who had been patronised by the King of
+  France; but, whether these prints had been done with the design of
+  embellishing the walls of houses in that country, I know not. They
+  had been taken from paintings of eminent old masters, and were
+  mostly Scripture pieces. They were well drawn, and perhaps correctly
+  copied from the originals, yet in my opinion none of them looked
+  well. Jackson left Newcastle quite enfeebled with age, and, it was
+  said, ended his days in an asylum, under the protecting care of Sir
+  Gilbert Elliot, Bart., at some place on the border near the Teviot,
+  or on Tweedside.
+
+    [Footnote 42: Bewick, 1925, pp. 213-214.]
+
+If Bewick was correct in reporting that Jackson died while under the
+protection of Sir Gilbert Elliot, probably in a Poor Law institution, it
+is unlikely that the date could have been much later than 1777, the year
+in which Sir Gilbert died. This would place the meeting of both artists
+shortly before this time, when Bewick was in his early twenties (he was
+born in 1753). Sir Gilbert lived in Minto House, Roxburghshire,
+Scotland, but no evidence can be found for the supposition that Jackson
+died in the vicinity. No obituary has been discovered. The record of
+Jackson’s death, if it exists, probably lies in a parish register
+somewhere on the Scottish border.
+
+
+
+
+_Critical Opinion_
+
+
+In most histories of prints it was considered sufficient to note that
+certain artists worked in woodcut chiaroscuro; the quality of such work
+was rarely discussed. But Jackson was an exception: something about his
+prints aroused critics to defense or attack. The cleavage is absolute,
+strange for one who was presumably a mere reproductive artist. Nothing
+could show more clearly the unsettled nature of Jackson’s standing than
+a sampling of these opinions.
+
+Horace Walpole in a letter, dated June 12, 1753, to Sir Horace Mann
+describing the furnishings in Strawberry Hill, commented:[43]
+
+  The bow window below leads into a little parlour hung with a
+  stone-colour Gothic paper and Jackson’s Venetian prints, which I
+  could never endure while they pretended, infamous as they are, to be
+  after Titian, &c., but when I gave them this air of barbarous
+  bas-reliefs, they succeeded to a miracle; it is impossible at first
+  sight not to conclude that they contain the history of Attila or
+  Tottila done about the very era.
+
+    [Footnote 43: _The Letters of Horace Walpole_, ed. Toynbee, 1903,
+    vol. 3, p. 166.]
+
+Von Heinecken[44] says they are “in the manner of Hugo da Carpi but much
+inferior in execution.” But Huber, Rost, and Martini[45] noted Jackson’s
+independent approach:
+
+  Jackson’s prints, which are certainly not without merit, are in
+  general less sought after by collectors than they deserve. His style
+  is original and is concerned entirely with broad effects.
+
+    [Footnote 44: Von Heinecken, 1771, p. 94.]
+
+    [Footnote 45: Huber, Rost, and Martini, 1808, vol. 9, pp.
+    121-123.]
+
+Baverel[46] also had a high opinion of Jackson’s work. Describing the
+Venetian prints, he says that Jackson “had a skillful and daring attack,
+and it is regrettable that he did not produce more work.” Nagler’s[47]
+criticism typifies the academic preconceptions of some writers on the
+subject of chiaroscuro:
+
+  Jackson’s works are not praiseworthy throughout in drawing, and also
+  he was not thoroughly able to apply the principles of chiaroscuro
+  correctly.... Yet we have several valuable prints from Jackson....
+
+    [Footnote 46: Baverel, 1807, vol. 1, pp. 341-342.]
+
+    [Footnote 47: Künstler-Lexicon, op. cit.]
+
+And Chatto[48] remarks:
+
+  They are very unequal in point of merit; some of them appearing
+  harsh and crude, and others flat and spiritless, when compared with
+  similar products by the old Italian wood engravers.
+
+    [Footnote 48: Chatto and Jackson, 1861, p. 455.]
+
+With this verdict W. J. Linton[49] disagrees, saying, “...Chatto
+underrates him. I find his works very excellent and effective. _The
+Finding of Moses_ (2 feet high by 16 inches wide) and _Virgin Climbing
+the Steps of the Temple_ (after Veronese), and others, are admirable in
+every respect....” Duplessis[50] attacks the Venetian set heatedly and
+at length, yet he devotes more space to expounding Jackson’s
+deficiencies than to discussing the work of any other woodcut artist,
+even Dürer or da Carpi.
+
+    [Footnote 49: Linton, 1889, p. 214. The second print mentioned is
+    after Titian, not Veronese.]
+
+    [Footnote 50: Duplessis, 1880, pp. 314-315. Duplessis, who was
+    _conservateur-adjoint_ in the Cabinet des Estampes of the
+    Bibliothèque Nationale, no doubt based his judgment on the
+    impressions in that collection. Certainly few of these were
+    printed by either Jackson or Pasquali.]
+
+On the evidence we have, the new conception Jackson brought to
+printmaking was not fully understood until the 20th century. Pierre
+Gusman[51] in 1916 probably first noted the technical distinction
+between Jackson’s work and earlier chiaroscuros.
+
+  He [Jackson] conceived his prints in a different way from the
+  Italians, bringing in new aspects in accenting values and planes,
+  because he did not reproduce drawings but interpreted paintings. The
+  whites even show embossings in the paper to make the light vibrate,
+  and a specially cut block is sometimes impressed to help in modeling
+  the forms. Jackson, in short, very much the wood carver, combined
+  the resources of the cameo with those of the chiaroscuro and
+  produced curious works of combined techniques, but without equaling
+  his predecessors, who were particularly remarkable for their
+  simplicity of style and treatment.
+
+    [Footnote 51: Gusman, 1916, pp. 164, 165.]
+
+One year later, in 1917, Max J. Friedländer[52] commented that relief
+effects in block printing were not alien additions but natural
+consequences of the method. His main emphasis, we note, is on the Ricci
+prints.
+
+  A peculiarity of the color woodcut, which first was put up with as a
+  characteristic of the technique but finally was enhanced and
+  utilized fully as a means of expression, is the physical relief that
+  stands out in thick and soft paper with the sharp pressure of die
+  wood-blocks.... No one has employed the relief of the woodcut so
+  consciously and artfully as the Englishman John Baptist Jackson in
+  the eighteenth century, who, particularly in some landscapes,
+  created most effective and richly colored sheets. He has gone so far
+  as to express forms in “blind-printing,” entirely without bordering
+  lines or contrasting colors, merely through relief pressing.
+
+    [Footnote 52: Friedländer, 1926 (1st ed. 1917), pp. 224-226.]
+
+Anton Reichel’s important history of chiaroscuro, with its magnificent
+color plates in facsimile, appeared in 1926.[53] He says of Jackson that
+his activity in chiaroscuro was “extraordinarily rich,” that he created
+broad approximations of his subjects which made him neglect details, but
+that these were “convincingly translated into the language of the
+woodcut.”
+
+  Five heroic landscapes after M. Ricci represent the artistic high
+  point of his work, having a distinctive richness of color not
+  previously attained by any other master of chiaroscuro. Each of the
+  prints has a complete harmony of colors; the single color
+  blocks-- over ten can be counted in each print-- which show in their
+  separate tones the extraordinarily cultivated taste of the artist,
+  give the composition a decorative effect far from any realistic
+  imitation of nature.... The relief impressed with the blocks is so
+  strong that, going beyond all other prior attempts of the kind, it
+  represents an essential factor of the composition through its actual
+  light-and-shadow effects.
+
+    [Footnote 53: Reichel, 1926, p. 48.]
+
+Although by this time Jackson’s chiaroscuros were regarded with respect
+and his color prints were acknowledged to be of prime importance, some
+of the conservative wallpaper historians were still repelled by their
+vigor, which did not suit genteel notions of interior decoration. Sugden
+and Edmondson[54] in 1925 certainly failed to understand both Jackson’s
+work and the period in which it was done. They comment:
+
+  Jackson’s bold claims to originality and merit are scarcely borne
+  out by anything he is known to have achieved. That he had a vogue,
+  however, seems certain, for apart from his “Essay” he has come down
+  to us as a historical figure. To modern tastes in art many of his
+  productions seem almost monstrous, and yet they were to some extent
+  the expression of the time-spirit in which they were born.
+
+    [Footnote 54: Sugden and Edmondson, 1925, p. 71.]
+
+
+  [Transcriber’s Note:
+
+  The color Plates were printed after the first page of Postscript, at
+  the mid-sentence point “they preferred imitations of sentimental, /
+  banal, story-telling oil paintings”.]
+
+    [Illustration:
+    1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael]
+
+    [Illustration:
+    2. VENUS AND CUPID WITH A BOW, after Parmigianino]
+
+    [Illustration:
+    5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino]
+
+    [Illustration:
+    13. DESCENT FROM THE CROSS, after Rembrandt]
+
+    [Illustration:
+    43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS, AND OBELISK,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS AND HORSEMEN,
+    after Marco Ricci, Detail]
+
+    [Illustration:
+    49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL’S HEAD
+    59. WOMAN STANDING HOLDING APRON]
+
+    [Illustration:
+    53. BUILDING AND VEGETABLE]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, left sheet]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, center sheet]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, right sheet]
+
+
+
+
+_Postscript_
+
+
+While Jackson had an influence on a small coterie, it did not prolong
+the life of the color woodcut. In Europe the medium did not survive his
+disappearance in 1755; no doubt it seemed to later artists intractable
+and lacking in nuance. The black-and-white woodcut, moreover, went into
+further decline and was almost entirely disregarded except for the
+rudest sort of work. Almost a century and a half were to pass before
+Gauguin and Munch swept aside old taboos and found exciting new
+possibilities for color in the woodcut process.
+
+The lack of interest in the color woodcut was also the result of new
+techniques in the copper-plate media, techniques that could be adapted
+to color printing. In 1756 J. C. François introduced the crayon manner,
+an etching process that could imitate the effects of chalk and crayon
+drawings. During the following decades numerous technical variations
+were developed, the most popular being the pastel manner, the stipple,
+and the aquatint.
+
+Of these methods only aquatint survived after early years of the 19th
+century. It was less limited than its companion processes and had wide
+application in rendering the effect of water-color wash. But color work
+in this medium, however attractive to a public that appreciated delicacy
+and charm, did not have mass appeal. The new audience created by the
+advancing Industrial Revolution wanted printed pictures of a less subtle
+type; they preferred imitations of sentimental, banal, story-telling oil
+paintings with a high, waxy finish. Neither aquatint nor other
+copper-plate media were suitable for these products, and color
+lithography did not receive serious attention until the late 1830’s. The
+wood engraving, which had inherited the function of the woodcut and
+which had greater flexibility in rendering tones and details, became the
+logical vehicle for the new color picture.
+
+In this situation Jackson suddenly appeared as the pioneer, as the
+father of printed pictures based upon paintings in oil or water colors.
+His intention had been translation rather than imitation and he would
+have abhorred the feeble new product, but this did not concern his
+successors-- they were interested only in his technical principles.
+Moreover, in their naïveté, they imagined they were improving on Jackson
+because their prints were counterfeit paintings while his were not.
+
+The earliest picture printers therefore, used wood engraving. Among them
+were Frederich W. Gubitz of Berlin, who began the revival about 1815;
+William Savage[55] of London, a printer who published a book describing
+his project in 1822; and George Baxter of London, whose work dates from
+about 1830. All started with chiaroscuro and moved to full color from a
+large number of wood blocks, although in 1836 Baxter began printing his
+transparent oil colors over a base of steel engraving reinforced with
+aquatint. Only Baxter persevered and was rewarded by sensational popular
+success. His glassy and trivial prints with their high sweet finish
+enjoyed a vogue among collectors that lasted into the 20th century. In
+about 1860, however, he was driven from the market by the rise of a
+cheaper medium, chromolithography, which was responsible in the next few
+decades for a universal outpouring of popular bathos. This was picture
+printing in color geared for the mass audience.
+
+    [Footnote 55: Savage, 1822. Jackson’s pioneer work is
+    acknowledged, pp. 15-16.]
+
+It may seem an anticlimax to trace the color woodcut from Jackson to
+Baxter, and finally to chromolithography, but it is not irrelevant.
+Although spurned by the better artists, color had too popular an appeal
+to be ignored. It was inescapable that Jackson’s successful technical
+procedures should finally be adopted and corrupted in the area of
+commerce.
+
+Woodcut artists up to Jackson, with few exceptions, had used color for
+one major purpose, to reproduce drawings in line and tone. By enlarging
+the conception of the color woodcut Jackson brought the primitive
+chiaroscuro phase of its history to an end. After him, the chiaroscuro
+could not be practiced again except as an archaism.[56] The way was open
+for the modern woodcut, although it was a long time in coming.
+
+    [Footnote 56: Only one moderately important chiaroscurist can be
+    mentioned, John Skippe, who worked in England from the 1770’s to
+    about 1810.]
+
+The range of Jackson’s work in tone and color exceeded that of all
+previous woodcutters and can be divided as follows: (1) chiaroscuros--
+after drawings, after paintings, after his own pen and ink drawings
+after paintings, interpretations of engravings and etchings, and
+interpretations of sculpture; and (2) full color-- after paintings in
+gouache and after his own water colors. In addition he treated pictorial
+subjects in flat color areas without a key or outline block, a procedure
+used before him only by the 17th-century Chinese; and he combined burin
+work with knife cutting.
+
+But Jackson’s reputation, in the long perspective, must rest upon his
+qualities as an artist. He had great distinction as a colorist but
+lacked originality as a designer and was dependent upon others, for the
+most part, for basic compositions. As an interpreter of these
+compositions, however, he was imaginative and forceful. He did not
+follow the example of most copper plate engravers and reproduce subjects
+faithfully; his conception of the woodcut as a frank medium precluded
+exact rendition. Except, possibly, for his first chiaroscuro, he always
+translated freely, with the aim of making good woodcuts rather than
+accurate representations of his subjects. Jackson’s work after others,
+in short, was consciously intended as artful approximation. This
+emphasis on the spirit rather than the letter, together with his novel
+techniques, often gave his prints a somewhat hybrid character-- an
+ambiguous look that might serve to explain the uneasy feelings of many
+critics. But his largeness of feeling is unmistakable, and this is what
+finally places him among the masters.
+
+The color woodcut is now an important form of printmaking. For this
+medium in the Western world, Jackson is the main ancestral figure.
+
+
+
+
+CATALOG
+
+
+Jackson’s chiaroscuros and color woodcuts have been grouped under three
+headings. The first and main section includes, besides those of
+unquestionable authenticity, prints which can be attributed to Jackson
+with some degree of certainty and those actually seen by earlier writers
+but which have apparently disappeared. In each case the status of the
+print in Jackson’s _oeuvre_ has been noted.
+
+The second section lists pieces believed to be by Jackson’s workshop.
+Prints that might have been done independently by close followers have
+been included here because we have no evidence that would permit
+distinctions to be drawn.
+
+The last section lists unverified subjects attributed to Jackson in a
+number of museums but which have been lost through war or other causes,
+and doubtful titles found in Nagler and Le Blanc. In each category the
+prints have been listed in chronological order as far as this can be
+determined. The sequence of the Venetian set follows Jackson’s
+description in the _Enquiry_, although the prints themselves are dated
+somewhat differently.
+
+One difficulty in cataloging Jackson’s work is the prevailing confusion
+in titling, the same prints being listed differently in different
+collections. This was to be expected since the artist almost invariably
+omitted titles. Nagler’s and Le Blanc’s catalogs are not descriptive and
+consequently there has been much guesswork in checking titles,
+particularly since the Venetian set and the Ricci prints are only
+partially listed by both writers, and not entirely correctly. Where
+subjects have not been recorded at all, the variation in titling has
+been greater.
+
+The location of prints has been given, with the exception of those in
+the Venetian set and in the _Essay_, which are, in part or whole, in too
+many collections to make listing feasible. It is not to be taken as
+complete. Jackson prints in a number of museums, particularly in
+Germany, have disappeared but might turn up again; some are still packed
+in boxes and await return to collections. For the sake of simplicity the
+names of cities alone have been used with the understanding that the
+chief print collection is meant. Exceptions are Boston where the Museum
+of Fine Arts is abbreviated to MFA and the Fogg Art Museum is shortened
+to Fogg, New York where the Metropolitan Museum of Art is listed as MMA
+and the New York Public Library as NYPL, and London where the British
+Museum is noted as BM and the Victoria & Albert as V & A.
+
+The woodcuts reproduced are numbered according to this catalog, and
+placed as nearly as possible in the same order. When prints have been
+listed by Nagler or Le Blanc their corresponding numbers have been
+included. Print sizes are given in inches, vertical sides first.
+
+
+_Prints by Jackson_
+
+  [Transcriber’s Note:
+
+  The “Inscriptions” are shown as nearly as possible as printed.
+  Typographic features such as the use of long “s” (ſ) and variation
+  between italic and non-italic small capitals are reproductions of the
+  original. Some computers may not be able to display italic long “s”.
+
+  Superscript letters are shown in {braces}. Small capitals (non-italic)
+  are shown +like this+; italic small capitals ‡like this‡.]
+
+
+1.
+
+_Christ Giving the Keys to St. Peter_, after Raphael    [Le Bl. 7, N. 9]
+
+Dimensions:
+
+  7¼ × 9¾ inches with letters, 6½ × 9¾ inches without letters.
+
+Blocks, 4:
+
+  Light brown, light gray-brown, gray-brown, black.
+
+Inscription, lower left:
+
+  “_Raph. Urb. inv._”
+
+Below, under border:
+
+  “+Tho. Hollis+ _Arm._ Hospit. Lincoln. D. D. D. J. B. Jackſon
+  _sculptor_.”
+
+About 1727. The dedication was added about 1750. After a drawing, now in
+the Louvre, for Raphael’s tapestry cartoons.
+
+  MFA, BM, Berlin-Dahlem
+
+
+2.
+
+_Venus and Cupid with a Bow_, after Parmigianino
+
+Dimensions:
+
+  9¾ × 6¼ inches with letters, 8¾ × 6¼ inches without letters.
+
+Blocks, 4:
+
+  Buff, light brown, terra-cotta red, black.
+
+Inscription, bottom:
+
+  “+Tho. Brand+ _Arm._ Hospit. Temp. D. D. D. / J. B. Jackſon
+  _sculptor_.”
+
+Left, running vertically:
+
+  “_F. M. Parm. inv._”
+
+1731.
+
+The dedication was added about 1750. Other impressions occur in a
+combination of green and brown and also in gray and green. Five
+impressions are in the British Museum including one in which two
+slanting vertical lines in the table immediately to the left of Cupid’s
+left leg are omitted.
+
+Philadelphia, MFA, BM, V&A, Berlin-Dahlem, Rotterdam, Brussels
+
+
+3.
+
+_Woman Standing Holding Jar on Her Head_, after Parmigianino
+
+Dimensions:
+
+  6¾ × 3½ inches.
+
+Blocks, 2:
+
+  Mustard yellow, black.
+
+Inscription, at bottom:
+
+  “_Per Illustri, ac Præclaro Viro +Joseph Smith+ / J. B. Jackson
+  Humiliter Dedicat Donat, et / Sculpsit._ 1731.”
+
+Another state has the following added in small letters:
+
+  “Antonius Ma Zanetti a Jacobo Parmense Delin.”
+
+The block for the tone is in two versions. The one illustrated is dotted
+in the jar to show gradations, while the other one is more loosely
+handled.
+
+Free copy of line engraving by G. A. Faldoni.
+
+  BM, V&A
+
+
+4.
+
+_Headpiece with Landscape and Ruins_
+
+This print is listed in the Staatliche Kunstsammlungen, Dresden, but has
+been lost in the war. No information as to color or size is available.
+The card catalogue has the following description:
+
+  “Ruins to the left. In the middle going over a river is a bridge.
+  To the right is a city view with campanile, dome and other buildings.
+  Dated 1731.”
+
+Probably made for use in a book. This seems to be the print described by
+Baverel and the “_petite vue_” Papillon mentioned.
+
+
+5.
+
+_Woman Meditating_ (_St. Thais?_), after Parmigianino
+
+Dimensions:
+
+  15⅜ × 9¼ inches with letters, 10¾ × 9¼ inches without letters.
+
+Blocks, 2: Pale brown, black. Also in green and blue-green.
+
+  After etching by Parmigianino (B. 10).
+
+Inscription, left near top, running diagonally upward:
+
+  “_F: M: Parmen* / Inventor / J: B: Jackſon Del / Sculp & excudit._”
+
+Bottom, beneath lower border:
+
+  “+Societati Antiquariæ Londinensi+ / _Humillime_ D.D.D. _J.B.J_
+
+  _Certo da cor, ch’ alto deſtin non Scelſe,
+  Son l’impreſe magnanime neglette;
+  Ma le bell’ alme alle bell’ opre elette
+  Sanno gioir nelle fatiche eccelſe;
+  Nè biaſmo popular, frale catena,
+  Spirto d’onore, il ſuo cammin raffrena.”_
+
+This inscription was added much later, about 1750.
+
+  MFA, MMA, Philadelphia
+  BM, Berlin-Dahlem, Vienna, Bremen, Brussels, Amsterdam, Dresden
+
+
+6.
+
+_Ulysses and Polyphemus_, after Primaticcio
+
+Dimensions:
+
+  7¾ × 10⅛ inches.
+
+Blocks, 2:
+
+  Greenish yellow, black.
+
+Inscription, bottom right:
+
+  “J. 9”
+
+Some copies lack the inscription. This is from plate 9 of Theodor Van
+Thulden’s 58 etchings reproducing designs by Primaticcio in
+Fontainebleau, published as “_Les Travaux d’Ulisse_” by P. Mariette in
+Paris, 1633.
+
+These etchings were published again in 1740 as “_Errores Ulyssis_.”
+Listed as by Jackson in Weigel’s _Kunstlagercatalog_, 1843, vol. 2., p.
+103.
+
+  BM, V&A
+
+
+7.
+
+_Bookplate_
+
+Dimensions:
+
+  4¼ × 6 inches, approximately.
+
+Blocks, 2:
+
+  Reddish brown, black.
+
+Inscription left and right top, in ribbon:
+
+  “+Litterarum Felicitas+”
+
+  BM
+
+
+8.
+
+_Judgment of Solomon_, after Rubens
+
+Dimensions:
+
+  17 × 20⅜ inches.
+
+Blocks, 4:
+
+  Yellow-buff, light brown, violet-brown, dark brown.
+
+Inscription, lower right:
+
+  “_Ill.{mo} et Exc.{mo} D.D. +Philippo Farsetti+, / Patritio ‡Veneto‡,
+  Patrono suo Benefic.{mo}_ / Tabulam _hanc ‡Petri Pauli Rubens‡. / In
+  Ligno cœlavit, et in sui Obsequii et grati Animi / Monumentum
+  humiliter Devovet J. B. Jackson._”
+
+1735.
+
+  BM, Brussels, Venice
+
+
+9.
+
+_The Visitation_, after Annibale Carracci
+
+Dimensions:
+
+  14¼ × 10¼ inches.
+
+Blocks, 4:
+
+  Light yellow, buff, brown, dark gray.
+
+Inscription, upper right:
+
+  “_[AL]. Caratius Pinx{t}. / J: B: Jackson Fecit / +Venezia+ 1735._”
+
+Weigel described this print as _Der Besuch bei Elisabeth_ in his
+_Kunstlagercatalog_, 1843, vol. 2, p. 103.
+
+  Smithsonian Institution (U.S. National Museum)
+  MFA, Philadelphia, BM, Dresden
+
+
+10.
+
+_Julius Caesar_, after Titian
+
+Dimensions:
+
+  12 × 9½ inches.
+
+Blocks, 4:
+
+  Tones of brown with dark brown key block.
+
+About 1738.
+
+This is a free translation of an engraving by Egidius Sadeler [Le Bl.
+143] after one of a series of Roman emperors attributed to Titian. The
+original paintings have been lost.
+
+  BM
+
+
+11.
+
+_St. Rocco_, after Cherubino Alberti
+
+Dimensions:
+
+  12¼ × 10¼ inches.
+
+Blocks, 3:
+
+  Green, reddish tan, black.
+
+  “S. Rocco” added by another hand.
+
+Some impressions lack the inscription. Also in two colors, mustard
+yellow and black.
+
+Free transcription of a line engraving by Cherubino Alberti after an
+undetermined painter (Le Bl. 61). A facsimile in grayed chartreuse and
+black was published by the Reichsdruckerei in Berlin, about 1925.
+
+  MFA, BM
+
+
+12.
+
+_Statuette of Neptune_, after Giovanni da Bologna    [Le Bl. 19, N. 8]
+
+Dimensions:
+
+  22½ × 15⅜ inches.
+
+Blocks, 4:
+
+  Tones of tan and brown.
+
+Inscription, bottom:
+
+  “_Ex Prototypo Æreo +Joannis· Bolonia+ ‡Duacensis‡ in / Museo ‡D:
+  Josephi Smith‡ Venetiis. / J.B. Jackſon Anglus Sculp & exc._”
+
+About 1738.
+
+The first state is without letters. Third state has inscription on top
+of statue base,
+
+  “+Gul. Lloyd+ _Arm. D.D.D. J.B.J._”
+
+  Smithsonian Institution (U.S. National Museum)
+  MFA, Los Angeles, BM, Paris, Berlin-Dahlem, Wiemar, Amsterdam
+
+
+13.
+
+_Descent from the Cross_, after Rembrandt    [Le Bl. 10, N. 3]
+
+Dimensions:
+
+  14 × 11 inches (arched print).
+
+Blocks, 4:
+
+  Yellow, gray, light brown, dark violet-brown.
+
+Inscription, bottom left:
+
+  “_Rembrandt pinxit, alt. p. 1. lat. unc x.
+  Extat Venetiis in domo +J: Smith+._”
+
+Bottom right:
+
+  “_J: B: Jackson figuras juxta Archetypum Sculp. & excudit. 1738._”
+
+Bottom:
+
+  “Acceperunt ergo Corpus JESU, & ligaverunt illud linteis / cum
+  Aromatibus, sicut mos est Judæis sepelire. _S. Joan. Cap. +xix+
+  Ver. xi._”/
+
+Lower, with coat of arms:
+
+  “_Perillustri ac Praeclaro Viro ‡D. Josepho Smith‡ / Insigne hoc
+  Opus affabre in Ligno coelavit, & in sui / obseqii & grati Animi
+  monu-mentum humiliter devovet / J: B: Jackson_”
+
+Smithsonian Institution (U.S. National Museum)
+
+  MFA, Fogg, MMA, NYPL, Chapel Hill, Philadelphia
+  BM, Paris, Berlin-Dahlem, Vienna, Rotterdam, Hamburg, Prague
+
+
+14.
+
+_Christ and the Woman of Samaria_
+
+Dimensions:
+
+  14¼ × 20⅜ inches.
+
+Blocks, 3:
+
+  Buff, greenish yellow, black.
+
+After a Bolognese master. Weigel described this as a “beautiful”
+chiaroscuro by Jackson.
+
+  MFA
+
+
+15.
+
+_Romulus and Remus, Wolf and Sea God_
+
+Dimensions:
+
+  2¾ × 7½ inches.
+
+Blocks, 2:
+
+  Green, black.
+
+Attributed to Jackson. Probably an illustration for a book.
+
+  BM
+
+
+16.
+
+_The Death of St. Peter Martyr_, after Titian    [Le Bl. 16, N. 10]
+
+Dimensions:
+
+  21¼ × 13½ inches.
+
+Blocks, 4:
+
+  Buff, pale greenish gray, brown, dark gray.
+
+Inscription, lower left (inside border):
+
+  “_J: B: Jackson Sculp: & Excudit Venetiis_ 1739.”
+
+Outside bottom frame, center:
+
+  “+Titianus Vecellius Cad. Invenit & Pinxit.+”
+
+The painting was destroyed by fire in 1867.
+
+
+17.
+
+_The Presentation in the Temple_ (The Circumcision), after Veronese
+    [Le Bl. 4, N. 15]
+
+Dimensions:
+
+  21⅛ × 15⅛ inches.
+
+Blocks, 4:
+
+  Buff, reddish gray, dark gray, dark brown.
+
+Inscription, bottom:
+
+  “_Illustrissimo, & Erudito Viro +Carolo Frederick+ Armigero,
+  liberalium Artium Patrono, / ‡Pauli Cagliari‡ praeclarum hoc Opus
+  in Ligno coelatum, in grati animi argumentum humiliter_ D. D. D. /
+  _J: B: Jackson_.”
+
+1739.
+
+
+18.
+
+_The Massacre of the Innocents_, after Tintoretto    [Le Bl. 5]
+
+Dimensions:
+
+  15½ × 21 inches.
+
+Blocks, 4:
+
+  Buff, violet-gray, light brown, dark violet-brown.
+
+Inscription, center bottom:
+
+  “_Illustrissimo, / et Praeclaro Viro Dno. Dno. / +Smart Lethieullier+
+  / Eruditæ Antiquitatis Studioso / Investigatori, Tabellam hanc /
+  ‡Jacobi Robusti‡_ in sui / obsequium D. D. D. _J: B: Jackson_.”
+
+1739.
+
+
+19.
+
+_The Entombment_, after Jacopo Bassano    [Le Bl. 12., N. 5]
+
+Dimensions:
+
+  21⅞ × 15¼ inches.
+
+Blocks, 4:
+
+  Buff, light reddish tan, gray, dark brown.
+
+Inscription on urn, above lower right-hand corner:
+
+  “_J: B: Jackson Delin Sculp & excudit 1739_”
+
+Across bottom:
+
+  “_Insignem hanc Tabulam a +Jacobo de Ponte+ depictam. Clarissimo Viro
+  +Jacobo Facciolato+ Seminarii Patavini Præsidi; Archigymnasii
+  ornamenta / ingenii doctrinæ, & in primis Latina eloquentia laude
+  celeberrimo J B Jackson D. C._”
+
+
+20.
+
+_Holy Family and Four Saints_, after Veronese
+
+Dimensions:
+
+  22⅛ × 13⅝ inches.
+
+Blocks, 4:
+
+  Light yellow, light greenish gray, dark brown, dark gray.
+
+Inscription, bottom center:
+
+  “_Perillustri et Nobili Viro ‡D{no} D{no}‡ / +Bourchier Wrey+
+  ‡Barronetto‡ / Generoso Artium Liberalium Fautori / in sui Obsequium_
+  D. D. D. _J. B. Jackson / P: C: Veronese Pinxit._”.
+
+1739.
+
+
+21.
+
+_The Mystic Marriage of St. Catherine_, after Veronese
+    [Le Bl. 18, N. 4]
+
+Dimensions:
+
+  22 × 15¼ inches.
+
+Blocks, 4:
+
+  Pale greenish gray, pale violet-gray, medium greenish gray,
+  deep cold gray.
+
+Inscription, lower center:
+
+  “+Gulielmo Windham+ / _Armigero, Artium Elegantiorum / Fautori, hanc
+  Tabulam humillime / Dedicat / J. B. Jackson._”
+
+Bottom left:
+
+  “_Paulo Veronese Pinxit J B J f 1740_”
+
+Many impressions are found in brown tones.
+
+
+22.
+
+_The Crucifixion_, after Tintoretto    [Le Bl. 9, N. 13]
+
+Dimensions:
+
+  21½ × 16¼ inches (left plate), 22¾ × 16⅜ inches (center plate),
+  21½ × 16½ inches (right plate).
+
+Blocks, 4:
+
+  Buff, light brown, gray, reddish brown.
+
+Inscription, bottom center (center plate):
+
+  “_Illustrissimo & Nob: Viro D{no}: D{no}: / +Richardo Boyle+ Comti de
+  Burlington & Cork &c. / Magnæ Britanniæ & Hiberniæ Pari, Hiberniæ
+  Archi-thesaurario / Heredetario, Nobilisimi Ordinis Periscelidis
+  Equiti &c. / Optimæ Architecturæ Instauratori ac Cæterarum Artium
+  Liberalium / Moecenati munificentissimo. / Singolare hoc Opus a
+  ‡Jacobo Robusti‡ depictam in Schola S: ‡Rocci‡ Venetiis / adservatum.
+  J: B: Jackson Anglus qui Ligno Coelavit humillime D. D. C. 1741._”
+
+On shield, bottom center (center plate):
+
+  “+Honi Soit·Qui·Mal y Pense·+”
+
+Below shield, bottom center (center plate):
+
+  “+Honor· Virtutis· Premium.+”
+
+A bust portrait of a man in 18th-century dress is visible on the right
+knee of the woman with a child in the center background of the left
+sheet. It is not a likeness of Richard Boyle. Could this be a
+self-portrait by Jackson?
+
+A trial proof of the key block, center sheet, is in the Rosenwald
+Collection, National Gallery of Art.
+
+
+23.
+
+_Miracle of St. Mark_, after Tintoretto    [Le Bl. 15, N. 2]
+
+Dimensions:
+
+  22¼ × 17¾ inches (left sheet), 22¼ × 17¾ inches (right sheet).
+
+Blocks, 4:
+
+  Buff, light brown, dark brown, dark gray.
+
+Inscription, lower left (left sheet):
+
+  “_Per illustri_ D{no} D{no} / +Eduardo Wright+, / _Armigero, /
+  pulcrarum Artium ex-/cultori vel sollertissimo, / hoc_ Jacobi Robusti
+  / _(communiter Tintoretto) / præclarum opus in / suæ argumentum ob-/
+  servantiæ addicit, et / consecrat J. B. Jackſon._”
+
+
+24.
+
+_The Marriage at Cana_, after Veronese
+
+Dimensions:
+
+  23 × 16¾ inches (left sheet), 23 × 16¾ inches (right sheet).
+
+Blocks, 4:
+
+  Buff, dark buff, violet-brown, dark brown.
+
+Inscription, lower left (left sheet):
+
+  “_Paulo Cagliari / Veron: Pinxit._”
+
+Lower right (right sheet):
+
+  “Rev{mo.} D{no.} P. / _‡Leopoldo Capello‡ Coenobii ‡D: Georgii‡ / Ord:
+  S: Benedict: / +Abbati+ / meritissimo. / J: B: Jackson_ / D. D. D.”
+
+Extreme lower right (right sheet):
+
+  “_J: B: Jackson Delin: Sculp. / & excudit Venetiis 1740._”
+
+Jackson in the _Enquiry_ (p. 48) described this print, and the two
+preceding subjects, as being “in _Hugo’s_ Manner with Improvements.”
+
+
+25.
+
+_Presentation of the Virgin in the Temple_, after Titian
+    [Le Bl. 3, N. 18]
+
+Dimensions:
+
+  22 × 15⅜ inches (left sheet), 22 × 17⅞ inches (center sheet),
+  22 × 17¼ inches (right sheet).
+
+Blocks, 4:
+
+  Light grayish umber, medium brown, dark gray, dark brown.
+
+Inscription, lower left (left sheet):
+
+  “_Opus hoc admiratione sane dignum, cunctorumq; approbatione /
+  commendatum, ac Sacrarii Confratrum Caritatis Venetiarum / potiſſimum
+  ornamentum, a_ Titiano Viccellio _Cadorensi, / Viro pingendi arte præ
+  cæteris celeberrimo, coloribus quam / fieri potest ad naturale
+  expressum, adumbratumq; pro viribus / exscribere studens J: B:
+  Jackson delineavit, excudit, et exſculpsit._ 1742.”
+
+Lower right, on streamer (right sheet):
+
+“+Ducit· Amor Patriæ.+”
+
+Lower right, in block (right sheet):
+
+  “Per Illustri, ac Nobili Viro D:{no} D:{no} / +Erasmo Philipps
+  Barronetto+ / _Artium zelantissimo Fautori, et de re litteraria /
+  optime merito, Tabulam hanc tenue debitæ venerationis / suæ
+  argumentum, emeritissimo Patrono, et Mecænati / commendat, et dicat /
+  J: B: Jackſon._”
+
+
+26.
+
+_The Virgin in the Clouds and Six Saints_, after Titian
+    [Le Bl. 14, N. 17]
+
+Dimensions:
+
+  23¼ × 14¾ inches.
+
+Blocks, 2:
+
+  Buff, black.
+
+Inscription, upper left and right:
+
+  “Ill{mo} atq; Excell:{mo} D:{no} D:{no} +Philippo Farsetti+ Nob. Ven.
+  / _Tabellam hanc a _Titiano Viccellio_ jam depictam in / gratissimi
+  animi, cultusq; perpetui testimonium, / Mecænati, ac Sospiti
+  munificentissimo / humiliat, et consecrat _J. B. Jackſon_._”
+
+Center of picture, on wall:
+
+  “+Titianus Faciebat+”
+
+Bottom center:
+
+  “_J. B. Jackson Del: sculp:&c. 1742._”
+
+Niccolò Boldrini’s woodcut after Titian’s drawing of the lower half of
+this subject (Le Bl. 12) evidently inspired Jackson to transcribe the
+entire painting as a pen-and-ink drawing in Titian’s style, with a tint
+block added.
+
+
+27.
+
+_The Descent of the Holy Spirit_, after Titian    [Le Bl. 13, N. 1]
+
+Dimensions:
+
+  22⅜ × 15⅛ inches.
+
+Blocks, 4:
+
+  Buff, light gray-brown, light yellow-brown, dark brown.
+
+Inscription, upper left and right:
+
+  “_Perilluſtri, ac Nobili Viro D:{no} D:{no} +Jacobo Stewart
+  Mackinzie+, / Honorabili Magnæ Britan-niæ Conſilii Conſcripto Patri /
+  Opus hoc, quod ex_ Titi-ani Viccellii _Pictura, / exſcripsit, in
+  humillimi obſequii testi-/monium devo-vebat_ / J. B. Jackſon.”
+
+
+28.
+
+_The Finding of Moses_, after Veronese    [Le Bl. 2, N.14]
+
+Dimensions:
+
+  22 × 15 inches.
+
+Blocks, 4:
+
+  Buff, light brown, light violet-gray, dark gray.
+
+Inscription, lower right:
+
+  “_Ill{mo} et Excell{mo} +D: D: / Everardo Fawkener+ Eq Aur / pro Mag:
+  Brit: Rege ad Turc: Imper: / Legato. Elegant: Artium Moecena-/ti
+  Munificentis: in sui Obsequii. Ar-/gumentum humill: D: D: / J: B:
+  Jackson._”
+
+Lower left:
+
+  “_Ex Tabella / a ‡Paulo Calliari‡ Veron{s}. / depicta penes J: +Smith+
+  Ven / J: B: Jackson Del Sculp & excud / 1741._”
+
+
+29.
+
+_The Raising of Lazarus_, after Leandro Bassano    [Le Bl. 6, N. 7]
+
+Dimensions:
+
+  23½ × 14⅞ inches.
+
+Blocks, 4:
+
+  Buff, light reddish gray, gray, dark cold brown.
+
+Inscription, upper left and right:
+
+  “_Ill:{mo} D:{no} D:{no} +Vincentio Riccardi+, Marchioni / Florentino,
+  amplissimo Senatori, / amœnarum litterarum scientiarumq; excultori /
+  peramantissimo, Tabellam hanc a / +Leandro+ de +Ponte+ colori-/bus
+  expressam veluti exigu-/um obser-vantiæ suæ / specimen_ D. D. D. /
+  J B Jackson”
+
+Center bottom:
+
+  “_J: B: Jackſon Del. Sculp. &c. 1742._”
+
+
+30.
+
+_Christ on the Mount of Olives_, after Jacopo Bassano
+    [Le Bl. 8, N. 6]
+
+Dimensions:
+
+  22 × 15⅛ inches.
+
+Blocks, 4:
+
+  Buff, medium brown, gray, dark brown.
+
+Inscription, bottom:
+
+  “Ill:{mæ} atq; Excell:{mæ} D:{næ} D:{næ} / _Paulinæ Contarenæ / ‡Nob:
+  Venetæ‡, aviti sanguinis ingenti splendore claræ, sed Virtutum
+  nobilitate longe clariori, piissimum / hoc Christianæ Fidei
+  monumentum, exiguum obsequentissimæ servitutis suæ signum, quod ex
+  pictura / _Jacobi de Ponte_ delineavit, et exſculpsit, generossimæ
+  Patronæ, et Auspici dedicabat J: B: Jackson._”.
+
+1743.
+
+A trial proof of the key block is in the Rosenwald Collection, National
+Gallery of Art.
+
+
+31.
+
+_Melchisedech Blessing Abraham_, after Francesco Bassano
+    [Le Bl. 1, N. 19]
+
+Dimensions:
+
+  22½ × 15⅛ inches.
+
+Blocks, 4:
+
+  Buff, warm gray, brown, dark brown.
+
+Inscription, lower right:
+
+  “_Per-illustri D.{no} D.{no} / +Joanni Reade+ / Tabellam hanc
+  in obſe-/quentiſſimæ reverentiæ / specimen D. D. D. / J. B. Jackſon /
+  ex Tabella penes / D. Jos{h} Smith._”
+
+1743.
+
+
+32.
+
+_Dives and Lazarus_ (The Rich Man and Lazarus), after Jacopo Bassano
+
+Dimensions:
+
+  22 × 15 inches (left sheet), 22 × 15 inches (right sheet).
+
+Blocks, 4:
+
+  Buff, light brown, light brownish gray, dark brownish gray.
+
+Inscription, lower left of left plate:
+
+  “_Per-illustri, ac Honorabili Viro_ / D:{no} D:{no} +Roberto Hoblyn+,
+  / _Armigero, Magnæq; Britan-/niæ Consilii Conscripto Patri, / Artium,
+  Scientiarumq; Cultori, / et Mæcenati, sui ergo obsequii / dicabat_ /
+  J. B. Jackſon.”
+
+Lower right of left plate:
+
+  “_Ab Exemplari, Jacobi de Ponte, quod Venetiis penes / D. Joſeph Smith
+  extat, exſcripſit qui dicabat. / J: Baſan P{x}._”
+
+1743.
+
+
+33.
+
+_Algernon Sidney_, after Justus Verus    [Le Bl. 20]
+
+Dimensions:
+
+  13⅜ × 8¾ inches with letters, 8½ × 7½ inches (oval portrait only).
+
+Blocks, 4:
+
+  Tan, light brown, light gray, dark gray.
+
+Inscription, left and right under oval:
+
+  “_Zustus Verus, pinx: J: B: J: sculp; et exc:_”
+
+In rectangle at bottom:
+
+  “_At the Time when_ M{r}. +Algernon Sidney+ _was_ Ambaſſador
+  _at that Court, Monſieur +Terlon+ the_ French _Ambaſſador,
+  had the Confidence to tear out of the Book of_ Mottos
+  _in the King’s Library, this Verse, which_ M{r}. Sidney
+  _(according to the Liberty allowed to all Noble Strangers)
+  had written in it:_/
+
+    “Manus haec inimica Tyrannis
+    Enſe petit placidam sub Libertate quietem.
+
+  “_Though Monſieur_ Terlon _underſtood not a word of_
+  Latin, _he was told by others the meaning of that Sen-
+  tence, which he considered as a_ Libel _upon the_ French
+  _Government and upon ſuch as was then setting up in_
+  Denmark _by_ French _Aſſistance_ or Example.”
+
+  Pref: to _Acco{t}. of Denmark_ 4{th} _Edit:P:23._
+
+Another version with light red in place of light gray (Philadelphia,
+which also has set of progressive proofs).
+
+Smithsonian Institution (U.S. National Museum) Worcester, MFA, Fogg,
+Baltimore, MMA, NYPL, Philadelphia BM, Berlin-Dahlem, Brussels,
+Frankfurt, Hamburg
+
+
+34.
+
+_Antique Bust of Woman_
+
+Dimensions:
+
+  14⅞ × 10½ inches (irregular oval).
+
+Blocks, 4:
+
+  Yellow-gray, greenish brown, gray-brown, brown.
+
+  MFA
+
+
+35.
+
+_Lovers_ (facing right), perhaps after Piazzetta
+
+Dimensions:
+
+  15 × 10½ inches.
+
+Blocks, 5:
+
+  Light brownish gray, darker brownish gray, medium brown, cold gray,
+  dark brown.
+
+Attributed to Jackson.
+
+  V&A
+
+
+36.
+
+_Lovers_ (woman full face), perhaps after Piazzetta
+
+Dimensions:
+
+  15 × 10½ inches.
+
+Blocks, 5:
+
+  Light brownish gray, darker brownish gray, medium brown, cold gray,
+  dark brown.
+
+Companion piece to previous print. Attributed to Jackson.
+
+  V&A
+
+
+37.
+
+_Lamentation Over the Body of Christ_
+
+Dimensions:
+
+  20½ × 13¼ inches.
+
+Blocks, 5 or 6:
+
+  Blue, brown, red, flesh, gray.
+
+Inscription, bottom:
+
+  “_Et tuam ipſius animam pertranſibit gladius,_”
+
+This is probably an experiment in color printing made by Jackson, after
+his own design, before attempting the Ricci set.
+
+  BM
+
+
+38.
+
+_Heroic Landscape With Dedication and Classical Ruins_,
+after Marco Ricci    [Le Bl. 21-25, N.20-25a]
+
+Dimensions:
+
+  16⅜ × 23⅛ inches.
+
+Blocks, 7 to 10:
+
+  Tones of blue, buff, gray-violet, green and dark gray.
+
+Inscription in tablet at lower left:
+
+  “_Ill{mo}, atq; Excell{mo} D{no} D{no}_ / +Roberto D’Arcy+, / Comiti
+  de Holderneſſe _&c. &c. &c. / Apud Sereniſs Remp: Venetam pro Mag: /
+  Britan· Rege Legato Extraordinario. / Hoc noviſſime excogitatum Opus
+  in humillimi / obsequii teſtimonium dedicabat_ / J. B. Jackſon.”.
+
+1744.
+
+A copy in the Museum of Fine Arts, Boston, has D’Arcy’s coat-of-arms on
+the entablature of the arch to the right with red and blue notes. The
+British Museum has a copy with brownish-red touched in with water colors
+in the clothing of the men under the arch.
+
+Reichel reproduced this in full size and color (plate 98).
+
+  MFA, MMA, BM, Venice
+
+
+39.
+
+_Heroic Landscape With Sheep, Statues, and Gentlemen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25b]
+
+Dimensions:
+
+  16¾ × 23⅛ inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+Smithsonian Institution (U.S. National Museum)
+
+  MFA, BM, Venice
+
+
+40.
+
+_Heroic Landscape with Fisherman, Cows, and Horsemen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25c]
+
+Dimensions:
+
+  16½ × 23 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, MMA, Worcester, BM, V&A, Berlin-Dahlem, Venice, Brussels
+
+
+41.
+
+_Heroic Landscape with Cart and Goatherd, with S. Giorgio Maggiore in
+Background_, after Marco Ricci    [Le Bl. 21-25, N. 20-25d]
+
+Dimensions:
+
+  16½ × 23 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, BM, Venice, Dresden
+
+
+42.
+
+_Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25e]
+
+Dimensions:
+
+  16¾ × 23½ inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+Reichel reproduced this in full size and color (plate 99).
+
+MMA, MFA, BM, Venice, Milan, Berlin-Dahlem
+
+
+43.
+
+_Heroic Landscape with Watering Place, Riders, and Obelisk_, after Marco
+Ricci
+
+Dimensions:
+
+  16⅝ × 23¼ inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, MMA, BM, V&A, Venice
+
+
+44.
+
+_Battle near Parma_, after Francesco Simonini
+
+Dimensions:
+
+  20 × 40 inches (two joined sheets)
+
+Blocks, 7 or 8:
+
+  Buff, brown, light green, blue-green, light transparent red, deep red,
+  dark gray.
+
+1752.
+
+The only known copy is in the British Museum. Tone has darkened and
+paper is torn in parts. This print is described in the _Enquiry_.
+Jackson erroneously referred to this artist as “Simonnetta.”
+
+  BM
+
+
+45.
+
+_Ornamental Border with Fruit; Flowers, and Purple Grapes_
+
+Dimensions:
+
+  6¼ × 25⅞ inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, green.
+
+Print for wallpaper.
+
+  BM
+
+
+46.
+
+_Ornamental Border with Fruit, Flowers, and Green Grapes_
+
+Dimensions:
+
+  6⅜ × 25⅞ inches.
+
+Blocks, 4:
+
+  Red, blue, yellow and green.
+
+Print for wallpaper.
+
+  BM
+
+
+47.
+
+_Ornamental Frame with Flowers and Fruit_
+
+Dimensions:
+
+  24¾ × 18½ inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, gray-green.
+
+Print for wallpaper.
+
+  BM
+
+
+48.
+
+_Ornamental Frame with Fruit_
+
+Dimensions:
+
+  25⅛ × 17¼ inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, gray-green.
+
+Print for wallpaper.
+
+  BM
+
+
+49.
+
+_Ornamental Frame with Flowers and Girl’s Head_
+
+Dimensions:
+
+  26 × 18½ inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, green.
+
+Print for wallpaper. Central figure is described under No. 59.
+
+  BM
+
+
+50.
+
+_Dancing Nymph with Bow and Arrows_
+
+Dimensions:
+
+  11⅛ × 6⅜ inches.
+
+Blocks, 2:
+
+  Olive green, black.
+
+Print for wallpaper. Probably cut by Jackson as a guide for his
+workshop. See Nos. 59-74.
+
+Smithsonian Institution (U.S. National Museum)
+
+
+51.
+
+_Bust of Democritus_
+
+Dimensions:
+
+  9¼ × 7½ inches (sheet size).
+
+Blocks, 4:
+
+  Buff, light gray, medium gray, dark gray.
+
+Plate from Jackson, _An Essay on the Invention of Engraving and Printing
+in Chiaro Oscuro_, 1754.
+
+
+52.
+
+_The Lion_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 6:
+
+  Yellow, red, light green, blue-gray, light gray, dark gray-green.
+
+Plate from Jackson, _Essay_..., 1754. This subject was copied from plate
+34 of Giorgio Fossati, _Raccolta di varie favole_, Venice, 1744.
+
+
+53.
+
+_Building and Vegetable_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 6:
+
+  Yellow, light green, light red, crimson, light gray, dark gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+54.
+
+_Statue of Apollo_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 4:
+
+  Light buff, medium buff, gray, and dark gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+55.
+
+_The Farnese Hercules_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 4:
+
+  Buff, greenish buff, gray, dark greenish gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+56.
+
+_Antique Bust of a Man_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 4:
+
+  Buff, gray-brown, gray, dark greenish gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+57.
+
+_Pheasant and Garden Urn_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 7:
+
+  Yellow, light green, warm gray, blue-gray, light red, crimson, dark
+  gray-green.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+58.
+
+_Ruin of Garden Temple_
+
+Dimensions:
+
+  9¼ × 7½ inches.
+
+Blocks, 7:
+
+  Yellow, light green, warm gray, cold gray, light red, crimson, dark
+  gray-green.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+_Jackson’s Workshop_
+
+
+59.
+
+_Woman Standing Holding Apron_, after S. Le Clerc
+
+Dimensions:
+
+  11¼ × 6½ inches (sheet size).
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. This figure appears in the center of the ornamental
+frame, No. 49 in this catalog, in the British Museum impression. After a
+plate in the series of etchings by Sébastien Le Clerc, _Les Figures à la
+mode_, 1685. The figure is reversed.
+
+  BM
+
+
+60.
+
+_Female Statue with Fruit and Wheat_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+61.
+
+_Female Statue with Mask_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+62.
+
+_Queen with Armor and Model of Building_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. In the style of Villamena.
+
+  Philadelphia
+
+
+63.
+
+_Apollo with Lyre_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Green and black. Also deep red and yellow.
+
+Print for wallpaper.
+
+  Smithsonian Institution (U.S. National Museum)
+  Philadelphia
+
+
+64.
+
+_Woman with Shepherd’s Pipe_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+65.
+
+_Woman with Sheet of Music and Horn_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+66.
+
+_Woman with Pitcher and Apron_, after S. Le Clerc
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is
+reversed.
+
+  Philadelphia
+
+
+67.
+
+_Old Woman Standing_, after S. Le Clerc
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is
+reversed.
+
+  Philadelphia
+
+
+68.
+
+_Lady with Staff_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+69.
+
+_Woman with Fruit and Basket_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+70.
+
+_Woman with Branches and Incense Burner_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+71.
+
+_Woman with Flowers and Vines_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Red and green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+72.
+
+_Standing Woman, Head Turned to Right_, after Watteau
+
+Dimensions:
+
+  11 × 5 inches.
+
+Blocks, 2:
+
+  Green and black.
+
+Print for wallpaper. After Boucher’s etching after a drawing by Watteau
+(plate 216 in Jean de Julienne’s compilation of Watteau’s work, _Figures
+de différents caractères_, ca. 1740).
+
+  MMA, Philadelphia, BM
+
+
+73.
+
+_Lady with Fan_, after S. Le Clerc
+
+Dimensions:
+
+  11 × 4½ inches.
+
+Blocks, 2:
+
+  Green and black.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, _Les Figures à la mode_, 1685. The figure is
+reversed and the fan has been shifted to the upper hand.
+
+  MMA
+
+
+74.
+
+_Classical Female Statue_
+
+Dimensions:
+
+  11¼ × 6½ inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia, MMA
+
+
+75.
+
+_Boy Looking Down_
+
+Dimensions:
+
+  3 × 2 inches.
+
+Blocks, 2:
+
+  Light brown and black.
+
+Perhaps after Piazzetta.
+
+  MFA, BM
+
+
+76.
+
+_Lady with a Flower_
+
+Dimensions:
+
+  14⅜ × 11¼ inches.
+
+Blocks, 3:
+
+  Buff, light brown, brown.
+
+Possibly after Kneller. Very weak and crude.
+
+  BM, V&A
+
+
+_Unverified Subjects_
+
+
+77.
+
+_The Annunciation_, after Parmigianino
+
+Dimensions:
+
+  6¾ × 4⅝ inches.
+
+Blocks, 3:
+
+  Tones of brown.
+
+This is listed as Jackson’s in Gutekunst & Klipstein’s catalogue 40,
+1938. It is described as having “the initials and an engraved letter
+border,” but whether the initials are Jackson’s or Parmigianino’s is
+uncertain.
+
+
+78.
+
+_St. Peter and St. Paul Surprised by the Executioner_, after Titian
+    [Le Bl. 17, N. 16]
+
+Le Blanc and Nagler list this print in addition to _St. Peter Martyr_,
+but most likely it is the same subject. The title might have been taken
+from a museum catalogue which listed the identical print under a
+different title.
+
+
+79.
+
+_The Entombment_, after Titian    [Le Bl. 11]
+
+This is included in Le Blanc (_J. C. mis au tombeau_) but it seems
+likely that it was confused with Bassano’s identically titled subject.
+
+
+80.
+
+_Giovanni Gastro I De Medici_
+
+This is listed as a Jackson print in Berlin-Dahlem but has not been
+located.
+
+
+81.
+
+_Elisabeth, Duchess of Hamilton, as a Shepherdess_
+
+This is catalogued as a Jackson print in the Dresden Kunstsammlungen but
+was lost in the war.
+
+
+
+
+The _Chiaroscuros_ and _Color Woodcuts_ of John Baptist Jackson
+
+
+    [Illustration:
+    1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael
+    (See also color plate)]
+
+    [Illustration:
+    2. VENUS AND CUPID WITH A BOW, after Parmigianino
+    (See also color plate)]
+
+    [Illustration:
+    3. WOMAN STANDING HOLDING JAR ON HER HEAD, after Parmigianino]
+
+    [Illustration:
+    5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino
+    (See also color plate)]
+
+    [Illustration:
+    7. BOOKPLATE]
+
+    [Illustration:
+    6. ULYSSES AND POLYPHEMUS, after Primaticcio]
+
+    [Illustration:
+    8. JUDGMENT OF SOLOMON, after Rubens]
+
+    [Illustration:
+    9. THE VISITATION, after Annibale Carracci]
+
+    [Illustration:
+    10. JULIUS CAESAR, after Titian]
+
+    [Illustration:
+    11. ST. ROCCO, after Cherubino Alberti]
+
+    [Illustration:
+    12. STATUETTE OF NEPTUNE, after Giovanni da Bologna]
+
+    [Illustration:
+    14. CHRIST AND THE WOMAN OF SAMARIA]
+
+    [Illustration:
+    15. ROMULUS AND REMUS, WOLF, AND SEA GOD]
+
+    [Illustration:
+    13. DESCENT FROM THE CROSS, after Rembrandt (See also color plate)]
+
+    [Illustration:
+    16. THE DEATH OF ST. PETER MARTYR, after Titian]
+
+    [Illustration:
+    17. THE PRESENTATION IN THE TEMPLE (THE CIRCUMCISION),
+    after Veronese]
+
+    [Illustration:
+    18. THE MASSACRE OF THE INNOCENTS, after Tintoretto]
+
+    [Illustration:
+    22. THE CRUCIFIXION, AFTER TINTORETTO, left sheet
+    (See also color plates)]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, center sheet
+    (See also color plates)]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, right sheet
+    (See also color plates)]
+
+    [Illustration:
+    19. THE ENTOMBMENT, after Jacopo Bassano]
+
+    [Illustration:
+    20. HOLY FAMILY AND FOUR SAINTS, after Veronese]
+
+    [Illustration:
+    21. THE MYSTIC MARRIAGE OF ST. CATHERINE, after Veronese]
+
+    [Illustration:
+    26. THE VIRGIN IN THE CLOUDS AND SIX SAINTS, after Titian]
+
+    [Illustration:
+    23. MIRACLE OF ST. MARK, after Tintoretto, left sheet]
+
+    [Illustration:
+    23. MIRACLE OF ST. MARK, after Tintoretto, right sheet]
+
+    [Illustration:
+    24. THE MARRIAGE AT CANA, after Veronese, left sheet]
+
+    [Illustration:
+    24. THE MARRIAGE AT CANA, after Veronese, right sheet]
+
+  [Transcriber’s Note:
+  The left and right halves of Plate 24 appear to be mislabeled in the
+  original. See the html file for combined version.]
+
+    [Illustration:
+    27. THE DESCENT OF THE HOLY SPIRIT, after Titian]
+
+    [Illustration:
+    28. THE FINDING OF MOSES, after Veronese]
+
+    [Illustration:
+    29. THE RAISING OF LAZARUS, after Leandro Bassano]
+
+    [Illustration:
+    31. MELCHISEDECH BLESSING ABRAHAM, after Francesco Bassano]
+
+    [Illustration:
+    32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
+    after Jacopo Bassano, left sheet]
+
+    [Illustration:
+    32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
+    after Jacopo Bassano, right sheet]
+
+    [Illustration:
+    30. CHRIST ON THE MOUNT OF OLIVES, after Jacopo Bassano]
+
+    [Illustration:
+    37. LAMENTATION OVER THE BODY OF CHRIST]
+
+    [Illustration:
+    33. ALGERNON SIDNEY, after Justus Verus]
+
+    [Illustration:
+    34. ANTIQUE BUST OF WOMAN]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    left sheet]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    center sheet]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    right sheet]
+
+    [Illustration:
+    35. LOVERS (facing right), perhaps after Piazzetta]
+
+    [Illustration:
+    36. LOVERS (woman full face), perhaps after Piazzetta]
+
+    [Illustration:
+    38. HEROIC LANDSCAPE WITH DEDICATION AND CLASSICAL RUINS,
+    after Marco Ricci]
+
+    [Illustration:
+    39. HEROIC LANDSCAPE WITH SHEEP, STATUES, AND GENTLEMEN,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
+    after Marco Ricci (See also color plates)]
+
+    [Illustration:
+    41. HEROIC LANDSCAPE WITH CART AND GOATHERD, AND WITH
+    S. GIORGIO MAGGIORE IN BACKGROUND, after Marco Ricci]
+
+    [Illustration:
+    42. HEROIC LANDSCAPE WITH WOMEN AT BROOK, CHILD FISHING
+    AND HERDSMEN, after Marco Ricci]
+
+    [Illustration:
+    43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS AND OBELISK,
+    after Marco Ricci (See also color plate)]
+
+    [Illustration:
+    44. BATTLE NEAR PARMA, after Francesco Simonini]
+
+    [Illustration:
+    44. BATTLE NEAR PARMA, after Francesco Simonini, detail]
+
+    [Illustration:
+    45. ORNAMENTAL BORDER WITH FRUIT, FLOWERS AND PURPLE GRAPES]
+
+    [Illustration:
+    46. ORNAMENTAL BORDER WITH FRUIT, FLOWERS, AND GREEN GRAPES]
+
+    [Illustration:
+    47. ORNAMENTAL FRAME WITH FLOWERS AND FRUIT]
+
+    [Illustration:
+    48. ORNAMENTAL FRAME WITH FRUIT]
+
+    [Illustration:
+    49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL’S HEAD
+    (See also color plate)]
+
+    [Illustration:
+    59. WOMAN STANDING HOLDING APRON, after S. Le Clerc]
+
+    [Illustration:
+    50. DANCING NYMPH WITH BOW AND ARROWS]
+
+    [Illustration:
+    51. BUST OF DEMOCRITUS]
+
+    [Illustration:
+    52. THE LION]
+
+    [Illustration:
+    53. BUILDING AND VEGETABLE (See also color plate)]
+
+    [Illustration:
+    54. STATUE OF APOLLO]
+
+    [Illustration:
+    55. THE FARNESE HERCULES]
+
+    [Illustration:
+    56. ANTIQUE BUST OF A MAN]
+
+    [Illustration:
+    57. PHEASANT AND GARDEN URN]
+
+    [Illustration:
+    58. RUIN OF GARDEN TEMPLE]
+
+    [Illustration:
+    60. FEMALE STATUE WITH FRUIT AND WHEAT]
+
+    [Illustration:
+    61. FEMALE STATUE WITH MASK]
+
+    [Illustration:
+    62. QUEEN WITH ARMOR AND MODEL OF BUILDING]
+
+    [Illustration:
+    63. APOLLO WITH LYRE]
+
+    [Illustration:
+    64. WOMAN WITH SHEPHERD’S PIPE]
+
+    [Illustration:
+    65. WOMAN WITH SHEET OF MUSIC AND HORN]
+
+    [Illustration:
+    66. WOMAN WITH PITCHER AND APRON, after S. Le Clerc]
+
+    [Illustration:
+    67. OLD WOMAN STANDING, after S. Le Clerc]
+
+    [Illustration:
+    68. LADY WITH STAFF]
+
+    [Illustration:
+    69. WOMAN WITH FRUIT AND BASKET]
+
+    [Illustration:
+    70. WOMAN WITH BRANCHES AND INCENSE BURNER]
+
+    [Illustration:
+    71. WOMAN WITH FLOWERS AND VINES]
+
+    [Illustration:
+    72. STANDING WOMAN, HEAD TURNED TO RIGHT, after Watteau]
+
+    [Illustration:
+    73. LADY WITH FAN, after S. Le Clerc]
+
+    [Illustration:
+    74. CLASSICAL FEMALE STATUE]
+
+    [Illustration:
+    76. LADY WITH A FLOWER]
+
+    [Illustration:
+    75. BOY LOOKING DOWN]
+
+
+
+
+BIBLIOGRAPHY
+
+
+ANONYMOUS. _An Enquiry into the Origins of Printing in Europe, by a
+Lover of Art._ London, 1752.
+
+  A rewrite of Jackson’s manuscript journal, with some sections quoted
+  verbatim. The artist’s career from about 1725 to 1752 is described.
+  The most important biographical source and a rare book.
+
+AUDIN, M. _Essai sur les graveurs de bois en France au dix-huitième
+siècle._ Paris, 1925, pp. 99-102.
+
+  Contains a section listing many books illustrated by Jackson in
+  Paris, mostly in later editions.
+
+BAVEREL, P. _Notices sur les graveurs_, Besançon, 1807, vol. 1, pp.
+341-342.
+
+BÉNÉZIT, E. _Dictionnaire des peintres, sculpteurs, dessinateurs, &
+graveurs._ Paris, 1924 (1st ed. 1913), vol. 2, p. 693.
+
+BEWICK, THOMAS. _Memoir of Thomas Bewick, Written by Himself_,
+1822-1828. New York, 1925 (1st ed., 1862), pp. 213-214.
+
+  Mentions meeting Jackson in advanced age, about 1777. The book
+  contains much personal reminiscence and observation on life but
+  little concrete detail for the student.
+
+BIGMORE, E. C. and WYMAN, C. W. H. _A Bibliography of Printing._ London,
+1880-1886, vol. 1, pp. 201, 365.
+
+  The most extensive annotated listing of books relating to printing.
+  Has a description of Jackson’s _Essay_.
+
+BRULLIOT, F. _Dictionnaire des monogrammes._ Munich, 1832-1834, vol. 2,
+Nos. 1288, 1352, 1535.
+
+BRYAN, M. _Dictionary of Painters and Engravers._ London and New York,
+1904 (1st ed. 1816), vol. 3, p. 99.
+
+  The most comprehensive biographical dictionary of artists in the
+  English language.
+
+BURCH, R. M. _Colour Printing and Colour Printers._ London, 1910, pp.
+72-77.
+
+  The most comprehensive general survey, but with more than occasional
+  inaccuracies. There is a lack of sensitivity in art matters. These
+  comments apply also to the section on Jackson.
+
+CHATTO, W., and JACKSON, J. _A Treatise on Wood-Engraving._ London, 1861
+(1st. ed. 1839), pp. 453-457.
+
+  The classic work on the subject; scholarly, objective, and
+  voluminously illustrated. Has the fullest early account of Jackson
+  and is the basis for most later studies of the artist.
+
+CUST, L. “John Baptist Jackson,” _Dictionary of National Biography._ New
+York and London, 1885-1900, vol. 29, p. 100.
+
+DE BONI, F. _Biografia degli artisti._ Venice, 1840, p. 499.
+
+DONNELL, EDNA. “The Van Rensselaer Wall Paper and J. B. Jackson-- A
+Study in Disassociation.” _Metropolitan Museum Studies_, 1932, vol. 4,
+pp. 77-108.
+
+  The most scholarly study of Jackson’s wallpaper career. Shows, by an
+  examination of styles, that Jackson could not have made the
+  wallpapers indiscriminately attributed to him.
+
+DUPLESSIS, G. Histoire de la gravure. Paris, 1880, pp. 314-315.
+
+ENTWISLE, E. A. _The Book of Wallpaper._ London, 1954, pp. 65-67, 76.
+
+  Contains new information on wallpaper manufacturers in London during
+  the 18th century, some of it bearing on Jackson.
+
+FRANKAU, J. _Eighteenth-Century Colour-Prints._ London, 1907, pp. 42-46.
+
+  Has an appreciative section on Jackson, highly romanticized.
+
+FRIEDLÄNDER, M. J. _Der Holzschnitt: Handbücher der Staatlichen Museen
+zu Berlin._ Berlin and Leipzig, 1926 (1st ed. 1917), pp. 224-226.
+
+FUESSLI, J. C. _Raisonirendes Verzeichniss der vornehmsten
+Kupferstecher._ Zurich, 1771, pp. 353-354.
+
+FURST, H. _The Modern Woodcut._ New York, 1924, pp. 88, 99.
+
+  A fine general survey, although judgments are occasionally dogmatic.
+
+GALLO, R. _L’Incisioni nel ’700 a Venezia e a Bassano._ Venice, 1941,
+pp. 22-23.
+
+  A solid study containing some new material on the artists of the
+  period.
+
+GORI GANDELLINI, G. _Notizie Istoriche degl’ Intagliatori._ Siena, 1771,
+vol. 2, p. 156.
+
+GUSMAN, P. _La Gravure sur bois et d’epargne sur metal du XIVe au XXe
+siècle._ Paris, 1916, pp. 32, 164-165, 193, 252.
+
+HARDIE, MARTIN. _English Coloured Books._ New York and London, 1906, pp.
+19-27.
+
+  While a brief but sensitive account of Jackson is given, the main
+  emphasis is on the _Essay_ as an illustrated book.
+
+HEINECKEN, C. H. VON. _Idée générale d’une collection complette
+d’estampes._ Leipzig and Vienna, 1771, p. 94.
+
+HELLER, J. _Geschichte der Holzschneidekunst._ Bamberg, 1823, pp.
+295-296. _Praktisches Handbuch für Kupferstichsammler._ Leipzig, 1850,
+p. 334.
+
+  Lists 10 chiaroscuros by Jackson.
+
+HELLER, J., and ANDRESEN, A. _Handbuch für Kupferstichsammler._ Leipzig,
+1870, vol. 1, pp. 706-707.
+
+  Lists 11 prints by Jackson.
+
+HUBER, M. _Notices générales des graveurs et des peintres._ Dresden,
+1787, pp. 676, 698.
+
+HUBER, M., and ROST, C. C. _Handbuch für Kunstliebhaber und Sammler._
+Zurich, 1808, vol. 9, pp. 129-131.
+
+HUBER, M., ROST, C. C., and MARTINI, C. G. _Manuel des curieux et des
+amateurs d’art._ Zurich, 1797-1808, vol. 9, pp. 121-123.
+
+  First catalog of Jackson’s work; lists 10 titles.
+
+JACKSON, JOHN BAPTIST. _An Essay on the Invention of Engraving and
+Printing in Chiaro Oscuro, as Practised by Albert Durer, Hugo di Carpi,
+&c., and the Application of It to the Making Paper Hangings of Taste,
+Duration, and Elegance._ London, 1754.
+
+  Written by Jackson to promote his wallpapers, it repeats some of his
+  assertions in the _Enquiry_ but gives little detail concerning his
+  career. It is important as an illustrated book and as an early
+  document in the history of wallpaper. The prints have suffered from
+  the use of an inferior oil vehicle.
+
+KAINEN, JACOB. “John Baptist Jackson and his Chiaroscuros.” _Printing
+and Graphic Arts_, vol. 4, no. 4, 1956, pp. 85-92.
+
+  An excerpt from the present work, then in progress, in a different
+  version.
+
+KREPLIN, B. C. “John Baptist Jackson,” in Thieme, U., and Becker, F.,
+_Allgemeines Lexikon der Bildenden Künstler._ Leipzig, 1907-1950, vol.
+18, pp. 224-225.
+
+  The most comprehensive biographical dictionary of artists. Has a
+  good article on Jackson and a small bibliography.
+
+LE BLANC, C. _Manuel de l’amateur d’estampes._ Paris, 1854-1888, vol. 2,
+p. 416.
+
+  Particularly valuable for its catalogs of the work of engravers.
+  With Nagler, contains the largest listing of Jackson’s prints.
+
+LEVIS, H. C. _A Descriptive Bibliography of Books in English Relating to
+Engraving and the Collection of Prints._ London, 1912, pp. 182-184.
+
+LEWIS, C. T. C. _The Story of Picture Printing in England During the
+19th Century; or Forty Years of Wood and Stone._ London, 1928, pp. 2,
+21, 26, 34, 40, 43, 195.
+
+  Written in an oppressively popular style with emphasis on Baxter and
+  Le Blond. Jackson is mentioned often but sketchily as the distant
+  ancestor of “picture printing.”
+
+LINTON, W. _The Masters of Wood Engraving._ London, 1889, p. 214.
+
+  Discusses the subject from the standpoint of a late-19th-century
+  technician. Nevertheless is open-minded, if slightly superior, about
+  the chiaroscuro woodcut.
+
+LONGHI, G. _Catalogo dei più celebri intagliatori in legno ed in rame._
+Milan, 1821, p. 51.
+
+MABERLY, J. _The Print Collector._ London, 1844, p. 130.
+
+  The first American edition, New York, 1880, edited by Robert Hoe,
+  copies the annotated description of the _Essay_ from Bigmore and
+  Wyman.
+
+MCCLELLAND, N. _Historic Wall-Papers._ Philadelphia and London, 1924,
+pp. 47, 79, 141-154, 165, 324-329, 423.
+
+  Makes many references to Jackson, largely inaccurate.
+
+MIREUR, H. _Dictionnaire des ventes d’art fait en France._ Paris,
+1911-1912, vol. 4, p. 23.
+
+MÜLLER, F., and KLUNZINGER, K. _Die Künstler Aller Zeiten und Völker._
+1857-1864, vol. 2, p. 430.
+
+MÜLLER, H. A., MÜLLER, H. W., and SINGER, H. W. _Allgemeines
+Künstler-Lexicon._ Frankfurt, 1895-1901, vol. 2, p. 240.
+
+NAGLER, G. K. _Allgemeines Künstler-Lexicon._ Munich. 1835-51, vol. 6,
+pp. 383-384.
+
+  The most extensive of all dictionaries of artists up to the time of
+  Thieme and Becker, _q.v._ With Le Blanc, has the fullest catalog of
+  Jackson’s prints.
+
+_Die Monogrammisten_, Munich, 1858-1879, vol. 3, pp. 730, 836.
+
+OMAN, C. C. _Catalogue of Wall-Papers._ London, Victoria and Albert
+Museum, 1929, pp. 24-25, 33.
+
+  A good historical account which includes Jackson’s contributions to
+  the rise of scenic wallpaper.
+
+PALLUCCHINI, RODOLFO. _Mostra degli incisori Veneti del settecento._
+Venice, 1941, ed. 2, pp. 16, 103-104.
+
+  Catalog of the exhibition held in Venice in 1941.
+
+PAPILLON, J. M. _Traité historique et pratique de la gravure en bois._
+Paris, 1766, vol. 1, pp. 323-324, 327-329, 415.
+
+  Contains personal recollections of Jackson and his career in France.
+  The book is valuable as the first technical treatise on the woodcut,
+  but the historical section is notoriously inaccurate and heavily
+  weighted with Papillon’s prejudices.
+
+PERCIVAL, MACIVER. “Jackson of Battersea and his Wall Papers.” _The
+Connoisseur_, 1922, vol. 62, pp. 25-36.
+
+REDGRAVE, S. _Dictionary of Artists of the English School._ London,
+1874, p. 227.
+
+REICHEL, ANTON. _Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII.
+Jahrhunderts._ Zurich, Leipzig, and Vienna, 1926, p. 48.
+
+  The finest work on chiaroscuro, with 100 magnificent facsimile
+  illustrations in color, fully described, and black-and-white
+  illustrations in the text. Reproduces two of Jackson’s Ricci prints
+  in actual size and color.
+
+SAVAGE, W. _Practical Hints on Decorative Printing._ London, 1822, pp.
+15-16.
+
+  Savage was the first writer to acknowledge Jackson’s contributions
+  to color printing, although he was critical of his inks. The book
+  attempts to show, through examples, that color printing from
+  woodblocks is practical for a variety of purposes.
+
+SMITH, J. _The Printers Grammar._ London, 1755, p. 136.
+
+SPOONER, S. _Dictionary of Painters, Engravers, Sculptors & Architects._
+New York, 1853, vol. 1, pp. 420-421.
+
+STRUTT, J. _Dictionary of Engravers._ London, 1785-86, vol. 2, p. 41.
+
+SUGDEN, A. V., and EDMONDSON, J. L. _A History of English Wallpaper._
+New York and London, 1925, pp. 61-71.
+
+  The most thorough book on the subject although the treatment of
+  Jackson is narrowly confined, like most wallpaper books, to his
+  shortcomings as a decorator for elegant homes.
+
+WALPOLE, HORACE. _Anecdotes of Painting in England. A Catalogue of
+Engravers who Have Been Born, or Resided in England. Digested from the
+Manuscript of George Vertue._ London, 1765 (1st ed. 1762), p. 3.
+
+  Important as the first compilation on this subject.
+
+_The Letters of Horace Walpole._ Edited by Mrs. Paget Toynbee, Oxford,
+1903-05, vol. 3, p. 166.
+
+WEIGEL, R. _Kunstlagercatalog._ Leipzig, 1837-1866, vol. 2, pp. 103,
+105; vol. 4, p. 52.
+
+WICK, PETER A. _Suite of Six Color Woodcuts of Heroic Landscapes by John
+Baptist Jackson after Marco Ricci._ 1955, 12 pp.
+
+  Manuscript read at the XVIII Congres International d’Histoire de
+  L’Art, Venice, Sept. 12-18, 1955. The first good, scholarly study of
+  the Ricci prints. Traces Jackson’s career briefly but accurately.
+
+Y. D. Historical Remarks on Cutting in Wood. _The Gentleman’s Magazine_,
+February 1752, vol. 22, pp. 78-79.
+
+  The first published statement of Jackson’s contribution as a
+  woodcutter.
+
+ZANETTI, A. M. _Della pittura veneziana._ Venice, 1792. (1st ed. 1771),
+vol. 2, pp. 689, 716. Zanetti was the librarian of St. Mark’s and the
+nephew of the famous chiaroscurist.
+
+ZANI, D. P. _Enciclopedia metodica delle belle arti._ Parma, 1817-24,
+vol. 11, p. 47.
+
+ZANOTTO, F. _Nuovissimo guida di Venezia._ Venice, 1856, p. 320, note 3.
+
+
+
+
+INDEX TO PLATES
+
+
+  1. _Christ Giving the Keys to St. Peter_, after Raphael,
+        55 (color), 99
+  2. _Venus and Cupid with a Bow_, after Parmigianino, 56 (color), 100
+  3. _Woman Standing Holding Jar on Her Head_, after Parmigianino, 101
+  5. _Woman Meditating_ (_St. Thais?_), after Parmigianino,
+        57 (color), 102
+  6. _Ulysses and Polyphemus_, after Primaticcio, 104
+  7. _Bookplate_, 103
+  8. _Judgment of Solomon_, after Rubens, 105
+  9. _The Visitation_, after Annibale Carracci, 106
+  10. _Julius Caesar_, after Titian, 107
+  11. _St. Rocco_, after Cherubino Alberti, 108
+  12. _Statuette of Neptune_, after Giovanni da Bologna, 109
+  13. _Descent from the Cross_, after Rembrandt, 58 (color), 112
+  14. _Christ and the Woman of Samaria_, 110
+  15. _Romulus and Remus, Wolf and Sea God_, 111
+  16. _The Death of St. Peter Martyr_, after Titian, 113
+  17. _The Presentation in the Temple_ (The Circumcision),
+        after Veronese, 114
+  18. _The Massacre of the Innocents_, after Tintoretto, 115
+  19. _The Entombment_, after Jacopo Bassano, 118
+  20. _Holy Family and Four Saints_, after Veronese, 119
+  21. _The Mystic Marriage of St. Catherine_, after Veronese, 120
+  22. _The Crucifixion_, after Tintoretto,
+      left sheet, 64 (color), 116
+      center sheet, 37 (proof of key block), 64 (color), 116
+      right sheet, 65 (color), 117
+  23. _Miracle of St. Mark_, after Tintoretto,
+      left sheet, 122
+      right sheet, 123
+  24. _The Marriage at Cana_, after Veronese,
+      left sheet, 124
+      right sheet, 125
+  25. _Presentation of the Virgin in the Temple_, after Titian,
+      left sheet, 136
+      center sheet, 136
+      right sheet, 137
+  26. _The Virgin in the Clouds and Six Saints_, after Titian, 121
+  27. _The Descent of the Holy Spirit_, after Titian, 126
+  28. _The Finding of Moses_, after Veronese, 127
+  29. _The Raising of Lazarus_, after Leandro Bassano, 128
+  30. _Christ on the Mount of Olives_, after Jacopo Bassano,
+        38 (key block), 132
+  31. _Melchisedech Blessing Abraham_, after Francesco Bassano, 129
+  32. _Dives and Lazarus_ (The Rich Man and Lazarus),
+        after Jacopo Bassano,
+      left sheet, 130
+      right sheet, 131
+  33. _Algernon Sidney_, after Justus Verus, 134
+  34. _Antique Bust of Woman_, 135
+  35. _Lovers_ (facing right), perhaps after Piazzetta, 138
+  36. _Lovers_ (woman full face), perhaps after Piazzetta, 139
+  37. _Lamentation Over the Body of Christ_, 133
+  38. _Heroic Landscape With Dedication and Classical Ruins_,
+        after Marco Ricci, 140
+  39. _Heroic Landscape With Sheep, Statues, and Gentlemen_,
+        after Marco Ricci, 141
+  40. _Heroic Landscape With Fisherman, Cows, and Horsemen_,
+        after Marco Ricci, 40 (color), 41 (color, detail), 142
+  41. _Heroic Landscape with Cart and Goatherd, with
+        S. Giorgio Maggiore in Background_, after Marco Ricci, 143
+  42. _Heroic Landscape with Women at Brook, Child Fishing,
+        and Herdsmen_, after Marco Ricci, 144
+  43. _Heroic Landscape with Watering Place, Riders, and Obelisk_,
+        after Marco Ricci, 59 (color), 145
+  44. _Battle near Parma_, after Francesco Simonini, 146, 147 (detail)
+  45. _Ornamental Border with Fruit, Flowers, and Purple Grapes_, 148
+  46. _Ornamental Border with Fruit, Flowers, and Green Grapes_, 148
+  47. _Ornamental Frame with Flowers and Fruit_, 149
+  48. _Ornamental Frame with Fruit_, 150
+  49. _Ornamental Frame with Flowers and Girl’s Head_,
+        62 (color), 151
+  50. _Dancing Nymph with Bow and Arrows_, 152
+  51. _Bust of Democritus_, 153
+  52. _The Lion_, 154
+  53. _Building and Vegetable_, 63 (color), 155
+  54. _Statue of Apollo_, 156
+  55. _The Farnese Hercules_, 157
+  56. _Antique Bust of a Man_, 158
+  57. _Pheasant and Garden Urn_, 159
+  58. _Ruin of Garden Temple_, 160
+  59. _Woman Standing Holding Apron_, after S. Le Clerc,
+        62 (color), 151
+  60. _Female Statue with Fruit and Wheat_, 161
+  61. _Female Statue with Mask_, 161
+  62. _Queen with Armor and Model of Building_, 162
+  63. _Apollo with Lyre_, 162
+  64. _Woman with Shepherd’s Pipe_, 163
+  65. _Woman with Sheet of Music and Horn_, 163
+  66. _Woman with Pitcher and Apron_, after S. Le Clerc, 164
+  67. _Old Woman Standing_, after S. Le Clerc, 164
+  68. _Lady with Staff_, 165
+  69. _Woman with Fruit and Basket_, 165
+  70. _Woman with Branches and Incense Burner_, 166
+  71. _Woman with Flowers and Vines_, 166
+  72. _Standing Woman, Head Turned to Right_, after Watteau, 167
+  73. _Lady with Fan_, after S. Le Clerc, 167
+  74. _Classical Female Statue_, 168
+  75. _Boy Looking Down_, 170
+  76. _Lady with a Flower_, 169
+
+
+
+_INDEX_
+
+
+  Alberti, Cherubino, 30
+  Albrizzi, G. B., 26, 28, 29
+  Altdorfer, Albrecht, 36n
+  Andreani, Andrea, 10, 11, 12n, 31, 45
+  Annison, M., 22
+
+  Baglioni, 27, 29
+  Baldung, Hans, 10
+  Bartolozzi, Francesco, 4
+  Bassano, Jacopo, 32
+  Baxter, George, 67
+  Beccafumi, Domenico, 10
+  Berghem, Nicolaes, 45
+  Bewick, Thomas, 5, 9n, 16, 17, 28, 35, 49, 50
+  _Bibbia del Nicolosi_, 26
+  _Biblia Sacra_ (published by Hertz), 28
+  Bloemart, Abraham, 22
+    Cornelius, 22
+    Frederick, 22
+  Boldrini, Niccolò, 11
+  Bologna, Giovanni da, 31
+  _Book of St. Albans_, 7
+  Brand, Thomas, 48
+  Bromwich, Thomas, 42
+  Burgkmair, Hans, 10
+  Businck, Ludolph, 11, 28, 45
+
+  Cabinet Crozart, 22, 23
+  Callot, Jacques, 4, 18, 30
+  Campagnola, Domenico, 44
+  Canaletto, 45
+  Carpi, Ugo da, 10, 11, 25, 26, 41, 44, 45, 51, 52
+  Carracci, Agostino, 32n
+  Caslon, William, 16
+  Caylus, Anne Claude Phillipe, Count de, 22, 23, 28
+  Chinese woodcuts, 36, 68
+  Coriolano, Bartolomeo, 11, 45
+    Giovanni Battista, 11
+  Coypel, Charles, 28
+  Cranach, Lucas, 9
+  Croxall’s _Aesop’s Fables_, 14, 15, 31
+  Crozat, Pierre, 22, 23, 48
+
+  D’Arcy, Robert, 35
+  Darley, Matthias, 42
+  Dunbar, Robert, 30
+    Robert, Jr., 42, 48
+  Dürer, Albrecht, 4, 9n, 41, 44, 52
+
+  Eaton, Edward, 49
+  Ecman, Edouard, 30
+  Edwards, George, 5n
+  “Ekwitz,” 14
+  Elliot, Sir Gilbert, 50
+  _Enquiry into the Origins of Printing in Europe_ (publication), 41
+  _Essay on the Invention of Engraving and Printing
+    in Chiaro Oscuro_ (publication), 43
+
+  Faldoni, Giovanni Antonio, 30
+  Farsetti, Filippo, 26, 27
+  François, J. C., 54
+  Frederick, Charles, 31
+  Fougeron, John, 49
+
+  Gauguin, Paul, 4, 54
+  George III, 31
+  Goltzius, Hendrick, 11
+    Hubert, 22, 29, 45
+  Goya, Francesco, 4
+  Guardi, Francesco, 46
+  Gubitz, Frederich W., 67
+
+  Hogarth, William, 17
+  Hollis, Thomas, 48, 49
+
+  _Istoria del Testamento Vecchio e Nuovo_, 26
+
+  Jackson, John Baptist
+    contributions to chiaroscuro and color woodcut, 5, 6, 12, 68
+    critical opinions of his work, 7, 51-54
+    first work in chiaroscuro, 11, 12, 23
+    birth, 14
+    training, 14, 15
+    early work in London, 15, 17
+    arrival in Paris, 17
+    association with Papillon, 18-22
+    association with de Caylus and Crozat, 22, 23
+    Papillon’s criticism of Jackson, 19, 20
+    arrival in Venice, 25
+    association with Zanetti, 25, 26
+    first chiaroscuros in Venice, 26
+    first chiaroscuro reproducing a painting, 27
+    early plans for wallpaper, 30
+    influence of line engraving, 29, 30
+    association with Joseph Smith, 30, 31, 32
+    production of the Venetian set, 31, 32, 33
+    production of the Ricci set,
+      his first prints in full color, 33, 35, 36
+    use of embossing, 33, 36
+    marriage, 40
+    return to England, 40
+    designs for calico, 40
+    career as a maker of wallpaper, 40-50
+    publication of _An Enquiry into the Origins
+      of Printing in Europe_, 41
+    publication of _An Essay on the Invention of Engraving
+      and Printing in Chiaro Oscuro_, 43
+    pioneer of scenic wallpaper, 46, 47
+    album ascribed to him, 48
+    collapse of wallpaper venture, 48, 49
+    meeting with Bewick, 49, 59
+    last days, 50
+    Walpole’s criticism, 51
+  Janinet, Jean François, 4
+  Japanese woodcuts, 4, 33n, 36
+  Jegher, Christoffel, 11
+  Jones, Inigo, 46
+
+  Kirkall, Elisha, 5, 11, 14, 15, 22, 33, 41
+  Knapton, George, 33
+
+  Lallemand, George, 11, 28
+  Lancret, Nicolas, 47
+  Le Blon, Jacob Christoph, 36, 39
+  Le Clerc, Sébastien, 18, 19, 30
+  Le Sueur, Nicolas, 11, 22, 23, 28, 45
+    Vincent, 11, 18, 23, 45
+  Lethieullier, Smart, 31
+  Lewis, John, 23, 25
+  _Liber selectarum cantionum_, Senfel, 7n
+  Lorrain, Claude, 45
+
+  Mantegna, Andrea, 12n
+  Mariette, Pierre-Jean, 25, 26, 28
+  Mattaire’s _Latin Classics_, 14, 31
+  Mellan, Claude, 30
+  Moreelse, Paulus, 11
+  Moretti, Giuseppe Maria, 25, 45
+  Munch, Edvard, 4, 54
+
+  Negker, Jost de, 10
+  Newdigate, Sir Roger, 32n
+
+  Pannini, Giovanni Paolo, 45, 46, 47
+  Papillon, Jean (father of J. M.), 19, 21, 22
+    Jean Michel, 6, 14, 15, 18, 19, 20, 21, 22, 23, 24, 28, 35
+  Parmigianino, 10, 22, 26, 44
+  Pasquali, J. B., 32, 40
+  Pezzana, 27, 28, 29
+  Piranesi, Giovanni Battista, 46
+  Pond, Arthur, 33
+  Poussin, Nicolas, 45
+
+  Raphael, 10, 11, 22, 23, 44
+  Ratdolt, Erhard, 7n
+  Rembrandt, 4, 31, 32
+  Ricci, Marco, 6, 35, 36, 46, 47, 53
+  Robert, P. P. A., 22
+  Romano, Giulio, 11, 23
+  Rosa, Salvator, 45
+  Rubens, Peter Paul, 27
+
+  Sadeler, Egidius, 29
+  Salviati, Francesco, 44
+  Savage, William, 67
+  Simonini, Francesco (erroneously called “Simonnetta”), 42
+  Skippe, John, 68n
+  Smith, Joseph, 30, 31
+  Suetonius’ _Lives of the Twelve Caesars_, 29, 34, 48
+  Swaine, J. B., 49
+
+  Tintoretto, 32
+  Titian, 11, 29, 32, 44
+  _Traité historique et pratique
+    de la gravure en bois_, 6, 14, 19, 20, 21
+  Trento, Antonio da, 10
+
+  “Urban, Sylvanus,” 41
+
+  Vallotton, Felix, 4
+  Velasquez, 42
+  Vernet, Claude Joseph, 47
+  Veronese, 52
+  Verus, Justus, 45
+  Vicentino, Giuseppe Niccolò, 10, 44
+  Villamena, Francesco, 30
+  Vouet, Simon, 11
+
+  Wallpaper, first use in England, 40
+  Walpole, Horace, 8, 31, 51
+  Ward, Dr. John, 49
+  Wechtlin, Hans, 10
+  Weiditz, Hans, 7n
+  Whistler, James M., 5n
+  Wouwerman, Philips, 45
+  Wrey, Sir Bouchier, 32n
+
+  Zanetti, Count Antonio Maria, 11, 25, 26, 45
+  Zuccarelli, Francesco, 46
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors and Inconsistencies
+
+  pretentions to literary culture [spelling unchanged]
+  also a woodcutter who copied Le Clerc [name printed without space]
+
+Catalog:
+
+  Punctuation in the Inscriptions is unchanged.
+  5, Inscription: F: M: Parmen* / Inventor [partially illegible]
+  9, Inscription: [AL] [A+L ligature sharing vertical line]
+  13, Inscription: Perillustri ac Praeclaro Viro ‡D. Josepho Smith‡
+    [printed as “‡Viro D. Josepho‡” Smith with misplaced small capitals,
+    but see Plate 13]
+  16, St. Peter; 21, St. Catherine
+    [period after “St.” invisible, but see Plate captions]
+  39: Lines “1744” and “Colors vary...” reversed in printed text.
+
+Bibliography:
+
+  [J. B. Jackson] ... as Practised by Albert Durer [no umlaut]
+
+Index to Plates:
+
+  16, _The Death of St. Peter Martyr_, after Titian
+    [printed with italic “after”]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
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+<pre>
+
+The Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: John Baptist Jackson
+       18th-Century Master of the Color Woodcut
+
+Author: Jacob Kainen
+
+Release Date: August 7, 2007 [EBook #22263]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK JOHN BAPTIST JACKSON ***
+
+
+
+
+Produced by Louise Hope, Chris Curnow, Joseph Cooper and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+
+<p>This text uses utf-8 (unicode) file encoding. If the apostrophes and
+quotation marks in this paragraph appear as garbage, you may have an
+incompatible browser or unavailable fonts. First, make sure that the
+browser’s “character set” or “file encoding” is set to Unicode (UTF-8).
+You may also need to change your browser’s default font.</p>
+
+<p>Details about the illustrations are given at the <a href =
+"#picnotes">end of the file</a>. Details about the “Inscriptions” in the
+“Prints by Jackson” section of catalog are given at the beginning of
+<a href = "#cat_prints">that section</a>.</p>
+
+</div>
+
+
+<!-- png 003 -->
+
+<table class = "title" summary = "formatted text">
+<tr>
+<td>
+<p>SMITHSONIAN INSTITUTION</p>
+
+<p>UNITED STATES NATIONAL MUSEUM</p>
+</td>
+<td>
+<img src = "images/publogo.png" width = "150" height = "150"
+alt = "Smithsonian seal">
+</td>
+</tr>
+<tr>
+<td></td>
+<td>
+<p>BULLETIN 222</p>
+
+<p>WASHINGTON, D.C.</p>
+
+<p>1962</p>
+</td>
+</tr>
+</table>
+
+
+<div class = "page">
+
+<!-- png 004 -->
+<h6 class = "smallcaps">United States Government Printing Office,
+Washington, 1962</h6>
+
+<h6>For sale by the Superintendent of Documents, U.S.&nbsp;Government
+Printing Office<br>
+Washington 25, D.C.</h6>
+
+</div>
+
+<hr class = "mid">
+
+<!-- png 005 -->
+<h1><i>John Baptist Jackson:</i></h1>
+
+<h2>18th-Century Master<br>
+of the Color Woodcut</h2>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h3><i>Jacob Kainen</i></h3>
+
+<h6>CURATOR OF GRAPHIC ARTS<br>
+MUSEUM OF HISTORY AND TECHNOLOGY</h6>
+
+<hr class = "mid">
+
+<div class = "page">
+
+<!-- png 006 -->
+<h5 class = "ital">Publications of the United States National
+Museum</h5>
+
+<p>The scholarly publications of the United States National Museum
+include two series, <i>Proceedings of the United States National
+Museum</i> and <i>United States National Museum Bulletin</i>.</p>
+
+<p>In these series are published original articles and monographs
+dealing with the collections and work of the Museum and setting forth
+newly acquired facts in the fields of Anthropology, Biology, History,
+Geology, and Technology. Copies of each publication are distributed to
+libraries and scientific organizations and to specialists and others
+interested in the different subjects.</p>
+
+<p>The <i>Proceedings</i>, begun in 1878, are intended for the
+publication in separate form, of shorter papers. These are gathered in
+volumes, octavo in size, with the publication date of each paper
+recorded in the table of contents of the volume.</p>
+
+<p>In the <i>Bulletin</i> series, the first of which was issued in 1875,
+appear longer, separate publications consisting of monographs
+(occasionally in several parts) and volumes in which are collected works
+on related subjects. <i>Bulletins</i> are either octavo or quarto in
+size, depending on the needs of the presentation. Since 1902 papers
+relating to the botanical collections of the Museum have been published
+in the <i>Bulletin</i> series under the heading <i>Contributions from
+the United States National Herbarium</i>.</p>
+
+<p>This work forms number 222 of the <i>Bulletin</i> series.</p>
+
+<div class = "right">
+<p><span class = "smallcaps">Remington Kellogg</span><br>
+<i>Director, United States National Museum</i></p>
+</div>
+
+</div> <!-- page -->
+
+
+<span class = "pagenum">VII</span>
+<!-- png 007 -->
+
+<h4 class = "ital"><a name = "contents" id = "contents">
+CONTENTS</a></h4>
+
+<table class = "toc" summary = "contents">
+<tr>
+<td></td>
+<td class = "number smallroman"><i>Page</i></td>
+</tr>
+<tr>
+<td><i>Preface</i></td>
+<td class = "number smallroman"><a href = "#preface">
+IX</a></td>
+</tr>
+<tr class = "toppad">
+<td><p>Jackson and his Tradition</p></td>
+<td class = "number"><a href = "#tradition">3</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>The Woodcut Tradition</i></p></td>
+<td class = "number"><a href = "#trad_woodcut">4</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Status of the Woodcut</i></p></td>
+<td class = "number"><a href = "#status_woodcut">7</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>The Chiaroscuro Tradition</i></p></td>
+<td class = "number"><a href = "#trad_chiaro">9</a></td>
+</tr>
+<tr class = "toppad">
+<td><p>Jackson and his Work</p></td>
+<td class = "number"><a href = "#work">13</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>England: Obscure Beginnings</i></p></td>
+<td class = "number"><a href = "#england">14</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Paris: Perfection of a Craft</i></p></td>
+<td class = "number"><a href = "#paris">17</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Venice: The Heroic Effort</i></p></td>
+<td class = "number"><a href = "#venice">25</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>England Again: The Wallpaper Venture</i></p></td>
+<td class = "number"><a href = "#wallpaper">40</a></td>
+</tr>
+<tr>
+<td><p><i>Critical Opinion</i></p></td>
+<td class = "number"><a href = "#opinion">51</a></td>
+</tr>
+<tr>
+<td><p><i>Postscript</i></p></td>
+<td class = "number"><a href = "#postscript">54</a></td>
+</tr>
+<tr class = "toppad">
+<td><p>Catalog</p></td>
+<td class = "number"><a href = "#catalog">69</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Prints by Jackson</i></p></td>
+<td class = "number"><a href = "#cat_prints">71</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Jackson’s Workshop</i></p></td>
+<td class = "number"><a href = "#cat_workshop">90</a></td>
+</tr>
+<tr>
+<td class = "inset">
+<p><i>Unverified Subjects</i></p></td>
+<td class = "number"><a href = "#cat_unver">95</a></td>
+</tr>
+<tr class = "toppad">
+<td><p>The Chiaroscuros and <a href = "#colorplate1">Color
+Woodcuts</a></p></td>
+<td class = "number"><a href = "#chiaro">97</a></td>
+</tr>
+<tr class = "toppad">
+<td><p><i>Bibliography</i></p></td>
+<td class = "number"><a href = "#biblio">171</a></td>
+</tr>
+<tr class = "toppad">
+<td><p><i>Index to Plates</i></p></td>
+<td class = "number"><a href = "#plates">177</a></td>
+</tr>
+<tr class = "toppad">
+<td><p><i>Index</i></p></td>
+<td class = "number"><a href = "#index">181</a></td>
+</tr>
+</table>
+
+<!-- png 008 -->
+
+
+<span class = "pagenum">IX</span>
+<!-- png 009 -->
+<h3 class = "ital"><a name = "preface" id = "preface">
+PREFACE</a></h3>
+
+
+<p><span class = "firstword">John Baptist Jackson</span> has received
+little recognition as an artist. This is not surprising if we remember
+that originality in a woodcutter was not considered a virtue until quite
+recently. We can now see that he was more important than earlier critics
+had realized. He was the most adventurous and ambitious of earlier
+woodcutters and a trailblazer in turning his art resolutely in the
+direction of polychrome.</p>
+
+<p>To 19th century writers on art, from whom we have inherited the bulk
+of standard catalogs, lexicons, and histories&mdash;along with their
+judgments&mdash;Jackson’s work seemed less a break with tradition than a
+corruption of it. His chiaroscuro woodcuts (prints from a succession of
+woodblocks composing a single subject in monochrome light and shade)
+were invariably compared with those of the 16th century Italians and
+were usually found wanting. The exasperated tone of many critics may
+have been the result of an uneasy feeling that he was being judged by
+the wrong standards. The purpose of this monograph, aside from providing
+the first full-length study of Jackson and his prints, is to examine
+these standards. The traditions of the woodcut and the color print will
+therefore receive more attention than might be expected, but I feel that
+such treatment is essential if we are to appreciate Jackson’s
+contribution, in which technical innovation is a major element.</p>
+
+<p>Short accounts of Jackson have appeared in almost all standard
+dictionaries of painters and engravers and in numerous historical
+surveys, but these have been based upon meager evidence. A&nbsp;fraction
+of his work was usually known and details of his life were, and still
+are, sparse. Later writers interpreting the comments of their
+predecessors have repeated as fact much that was conjecture. The picture
+of Jackson that has come down to us, therefore, is unclear and
+fragmentary.</p>
+
+<span class = "pagenum">X</span>
+<!-- png 010 -->
+<p>If he does not emerge from this study completely accounted for from
+birth to death, it has not been because of lack of effort. Biographical
+data for his early and late life&mdash;about fifty years in
+all&mdash;are almost entirely missing despite years of diligent search.
+As a man he remains a shadowy figure. I&nbsp;have traced Jackson’s life
+as far as the available evidence will permit, quoting from the writings
+of the artist and his contemporaries at some length to convey an
+essential flavor, but I have refrained from filling in gaps by straining
+at conjecture.</p>
+
+<p>While details of his life are vague, sufficient information is at
+hand to reconstruct his personality clearly enough. After all, Jackson
+wrote a book and was quoted at length in another. A&nbsp;contemporary
+fellow-practitioner wrote about him with considerable feeling. These and
+other sources give a good indication of the artist’s character.</p>
+
+<p>The man we have to deal with had something excessive about him; he
+was headstrong, tactless, impractical, enormously energetic,
+a&nbsp;prodigious worker, a&nbsp;conceiver of grandiose projects, and a
+relentless hunter of patrons. He was at home with his social superiors
+and had some pretentions to literary culture, he had a coarse gift for
+the vivid phrase in writing, and his tastes in art ran to the classic
+and heroic.</p>
+
+<p>This study includes an illustrated catalog of Jackson’s chiaroscuros
+and color prints. Previous catalogs, notably those of Nagler, Le Blanc,
+and Heller, have listed no more than twenty-five works. The present
+catalog more than triples this number.</p>
+
+<p>To acknowledge fully the assistance given by museum curators,
+librarians, archivists, and scholars on both sides of the Atlantic would
+necessitate a very long list of names. However, I&nbsp;wish especially
+to thank Mr. Peter A.&nbsp;Wick of the Museum of Fine Arts, Boston, who
+has been generous enough to allow me to read his well-documented paper
+on Jackson’s Ricci prints; Mr. A.&nbsp;Hyatt Mayor of the Metropolitan
+Museum of Art; Mr. Carl Zigrosser of the Philadelphia Museum of Art;
+Miss Anna C.&nbsp;Hoyt and Mrs. Anne B.&nbsp;Freedberg of the Museum of
+Fine Arts, Boston; Dr. Jakob Rosenberg and Miss Ruth S.&nbsp;Magurn of
+the Fogg Art Museum; Mr. Karl Kup of the New York Public Library; Miss
+Elizabeth Mongan of the Rosenwald Collection, National Gallery of Art;
+Miss Una E.&nbsp;Johnson of the Brooklyn Museum; Mr. Gustave von
+Groschwitz of the Cincinnati Art Museum; and Dr. Philip W.&nbsp;Bishop
+of the U.S.&nbsp;National Museum, Smithsonian Institution.</p>
+
+<span class = "pagenum">XI</span>
+<!-- png 011 -->
+<p>I am particularly grateful to curators of European collections, who
+have been uniformly generous in their assistance. Special thanks are due
+Mr. J.&nbsp;A.&nbsp;Gere of the British Museum and Mr. James Laver of
+the Victoria and Albert Museum, who have gone to considerable trouble to
+acquaint me with their great collections. Others whose help must be
+particularly noted are Mr. Peter Murray, Courtauld Institute of Art,
+University of London; Mme. R.&nbsp;Maquoy-Hendrickx of the Bibliothèque
+Royale de Belgique, Brussels; Dr. Vladimír Novotný of the Národní
+Galerie, Prague; Dr. Wegner of the Graphische Sammlung, Munich; Dr. Wolf
+Stubbe of the Kunsthalle, Hamburg; Dr. G.&nbsp;Busch of the Kunsthalle,
+Bremen; Dr. Hans Möhle of the Staatliche Museen, Berlin; Dr. Menz of the
+Staatliche Kunstsammlungen, Dresden; Miss B.&nbsp;L.&nbsp;D. Ihle of the
+Boymans Museum, Rotterdam; and M.&nbsp;Jean Adhémar of the Bibliothèque
+Nationale, Paris.</p>
+
+<p>The excellent collections of chiaroscuro prints in the Museums of the
+Smithsonian Institution have formed a valuable basis for this monograph.
+These prints include the set of Jackson’s Venetian chiaroscuros,
+originally owned by Jackson’s patron, Joseph Smith, British Consul in
+Venice, now in the Rosenwald Collection, National Gallery of Art, and
+the representative sampling of Jackson’s work in the Division of Graphic
+Arts, U.S.&nbsp;National Museum.</p>
+
+<p>I am indebted to the following museums which have kindly given
+permission to reproduce Jackson prints in their collections. These are
+listed by catalog number.</p>
+
+<div class = "hanging">
+<p>Smithsonian Institution 16, 18, 19, 20, 21, 22 (also in color), 24,
+25, 26, 27, 28, 29, 30, 39, 50, 51, 52, 53 (also in color), 54, 55, 56,
+57, 58,&nbsp;63</p>
+
+<p>Museum of Fine Arts, Boston (W. G. Russell Allen Estate) 1 (also in
+color), 11, 14, 23, 33, 34, 38, 40 (also in color)</p>
+
+<p>Fogg Art Museum 13 (also in color)</p>
+
+<p>Worcester Art Museum 32</p>
+
+<p>Metropolitan Museum of Art 5 (Rogers Fund) (also in color), 17, 31
+(gift of Winslow Ames), 73 (Whittelsey Fund)</p>
+
+<p>Philadelphia Museum of Art (John Frederick Lewis Collection) 2, 60,
+61, 62, 64, 65, 66, 67, 68,&nbsp;74</p>
+
+<p>British Museum 2 (in color), 6, 7, 8, 9, 10, 12, 15, 37, 41, 42, 43
+(also in color), 44, 45, 46, 47, 48, 49 (also in color), 59, 69, 70, 71,
+72, 75, 76 (photographs by John R.&nbsp;Freeman &amp;&nbsp;Co.)</p>
+
+<span class = "pagenum">XII</span>
+<!-- png 012 -->
+
+<p>Victoria and Albert Museum (Crown copyright) 3, 35, 36, 40</p>
+</div>
+
+<p>Finally, I want to thank the Editorial Office of the Smithsonian
+Institution for planning and designing this book; the Government
+Printing Office for their special care in its production; and Mr. Harold
+E.&nbsp;Hugo for his expert supervision of the color plates.</p>
+
+<p>A grant from the American Philosophical Society (Johnson Fund), made
+it possible to conduct research on Jackson in Europe. Acknowledgment is
+herewith gratefully given.</p>
+
+<div class = "right">
+<p><span class = "smallcaps">Jacob Kainen</span><br>
+<i>Smithsonian Institution</i></p>
+</div>
+
+<p><i>September 1, 1961</i></p>
+
+
+<div class = "page">
+
+<span class = "pagenum">1</span>
+<a name = "page1" id = "page1"> </a>
+<!-- png 013 -->
+<h1><i>John Baptist Jackson:</i></h1>
+
+<h2>18th-Century Master<br>
+of the Color Woodcut</h2>
+
+</div>
+
+
+<a name = "page2" id = "page2"> </a>
+<!-- png 014 -->
+
+
+<a name = "page3" id = "page3"> </a>
+<!-- png 015 -->
+
+<h2 class = "chapter"><a name = "tradition" id = "tradition">
+Jackson and His Tradition</a></h2>
+
+<span class = "pagenum">4</span>
+<a name = "page4" id = "page4"> </a>
+<!-- png 016 -->
+
+<h4 class = "ital"><a name = "trad_woodcut" id = "trad_woodcut">
+The Woodcut Tradition</a></h4>
+
+<p><span class = "dropcap">A</span><span class =
+"firstword">lthough</span> the woodcut is the oldest traditional print
+medium it was the last to win respectability as an art form. It had to
+wait until the 1880’s and 1890’s, when Vallotton, Gauguin, Munch, and
+others made their first unheralded efforts, and when Japanese prints
+came into vogue, for the initial stirrings of a less biased attitude
+toward this medium, so long considered little more than a craft. With
+the woodcut almost beneath notice it is understandable that Jackson’s
+work should have failed to impress art historians unduly until recent
+times. Although he bore the brunt as an isolated prophet and special
+pleader between 1725 and 1754, his significance began to be appreciated
+only after the turn of the 20th century, first perhaps by Martin Hardie
+in 1906, and next and more clearly by Pierre Gusman in 1916 and Max J.
+Friedländer in 1917, when modern artists were committing heresies, among
+them the elevation of the woodcut to prominence as a first-hand art
+form. In this iconoclastic atmosphere Jackson’s almost forgotten
+chiaroscuros no longer appeared as failures of technique, for they had
+been so regarded by most earlier writers, but as deliberately novel
+efforts in an original style. The innovating character of his woodcuts
+in full color was also given respectful mention for the first time. But
+these were brief assessments in general surveys.</p>
+
+<p>If the woodcut was cheaply held, it was at least acceptable for
+certain limited purposes. But printing pictures in color, in any medium,
+was considered a weakening of the fiber&mdash;an excursion into
+prettification or floridity. It was not esteemed in higher art circles,
+except for a short burst at the end of the 18th century in France and
+England. This was an important development, admittedly, and the prints
+were coveted until quite recently. They are still highly desirable. But
+while Bartolozzi stipple engravings or Janinet aquatints in color might
+have commanded higher prices than Callots or Goyas, or even than many
+Dürers and Rembrandts, no one was fooled. The extreme desirability of
+the color prints was mostly a matter of interior decoration: nothing
+could give a finer 18th century aura. It was not so much color printing
+that mattered; it was <i>late 18th century</i> color printing that was
+wanted, often by amateurs who collected nothing else.
+<span class = "pagenum">5</span>
+<a name = "page5" id = "page5"> </a>
+<!-- png 017 -->
+Color prints before and after this period did not appeal to
+discriminating collectors except as rarities, as exotic offshoots. Even
+chiaroscuros, with their few sober tones, fell into this periphery.
+Jackson, as a result, was naturally excluded from the main field of
+attention.</p>
+
+<p>The worship of black-and-white as the highest expression of the
+graphic arts<a class = "tag" name = "tag1" id = "tag1" href =
+"#note1">1</a> automatically placed printmakers in color in one of two
+categories: producers of abortive experiments, or purveyors of popular
+pictures to a frivolous or sentimental public. This estimate was
+unfortunately true enough in most cases, true enough at least to cause
+the practice to be regarded with suspicion. As an indication of how
+things have changed in recent years we can say that color is no longer
+the exception. It threatens, in fact, to become the rule, and
+black-and-white now fights a retreating battle. A&nbsp;comparison of any
+large exhibition today with one of even 20 years ago will make this
+plain.</p>
+
+<p>At first glance Jackson seems to be simply a belated 18th-century
+worker in the chiaroscuro process. If to later generations his prints
+had a rather odd look, this was to be expected. Native qualities, even a
+certain crudeness, were expected from the English who lacked advantages
+of training and tradition. And Jackson was not only the first English
+artist who worked in woodcut chiaroscuro, he was virtually the first
+woodblock artist in England to rise beyond anonymity<a class = "tag"
+name = "tag2" id = "tag2" href = "#note2">2</a> (Elisha Kirkall, as we
+shall see, cannot positively be identified as a wood engraver) and he
+was the only one of note until Thomas Bewick arose to prominence about
+1780. He was, then, England’s first outstanding woodcutter. We will find
+other instances of his significance from the English standpoint, but his
+being English, of course, would have a small part in explaining the
+importance of his prints.</p>
+
+<p>Jackson made, in fact, the biggest break in the traditions of the
+woodcut since the 16th century. He broadened the scope of the
+chiaroscuro print and launched
+<span class = "pagenum">6</span>
+<a name = "page6" id = "page6"> </a>
+<!-- png 018 -->
+the color woodcut as a distinct art form that rivaled the polychrome
+effects of painting while retaining a character of its own. These were
+not modest little pieces of purely technical interest. The set of 24
+sheets reproducing 17 paintings by Venetian masters made up the most
+heroic single project in chiaroscuro, and the 6 large landscapes,
+completed in 1744, after gouache paintings by Marco Ricci, were the most
+impressive color woodcuts in the Western world between the 16th century
+and the last decade of the 19th.</p>
+
+<p>But Jackson’s grand ambition to advance the woodcut beyond all other
+graphic media had little public or private support and finally led him
+to ruin. His efforts were made with insufficient means and with few
+patrons. As a consequence, he rarely printed editions after the blocks
+were cut and proofed. The Venetian set is well known because it was
+printed in a substantial edition. A&nbsp;few additional subjects were
+also sponsored by patrons, but most of Jackson’s other chiaroscuros were
+never published&mdash;they were limited to a few proofs. Editions were
+postponed, no doubt, in the hope that a patron would come along to pay
+expenses in return for a formal dedication in Latin, but this did not
+often happen. Most subjects exist in a few copies only; of some, single
+impressions alone remain. Others have entirely disappeared.</p>
+
+<p>With a large part of Jackson’s work unknown, his reputation settled
+into an uneasy obscurity which, it must be granted, has not prevented
+his work from being collected. The chiaroscuros, especially the Venetian
+prints, can be found in many leading collections in Europe and the
+United States, but the full-color sheets after Ricci are excessively
+rare, particularly in complete sets.</p>
+
+<p>Jackson has long been considered an interesting figure. <i>His Essay
+on the Invention of Engraving and Printing in Chiaro Oscuro</i>...,<a
+class = "tag" name = "tag3" id = "tag3" href = "#note3">3</a> with its
+bold claims to innovation and merit, his adventurous career as an
+English woodcutter in Europe, his adaptation of the color woodcut to
+wallpaper printing and his pioneering efforts in this field, and
+Papillon’s immoderate attack on him in the important <i>Traité
+historique et pratique de la gravure en bois</i><a class = "tag" name =
+"tag4" id = "tag4" href = "#note4">4</a> will be discussed later. For
+the moment we can say that the Essay was the first book by an Englishman
+with
+<span class = "pagenum">7</span>
+<a name = "page7" id = "page7"> </a>
+<!-- png 019 -->
+color plates since the <i>Book of St. Albans</i> of 1486, with its
+heraldic shields in three or four colors, and the first book with
+block-print plates in naturalistic colors.<a class = "tag" name = "tag5"
+id = "tag5" href = "#note5">5</a></p>
+
+<p>Although critics have been interested in Jackson as an historical
+figure, they have been uncertain about the merit of his work. Opinions
+vary surprisingly. Most judgments were based on the Venetian
+chiaroscuros and depended upon the quality of impressions, many of which
+are poor. Criticisms when they have been adverse have been surprisingly
+harsh. It is unusual, to say the least, for writers to take time
+explaining how bad an artist is. To do this implies, in any case, that
+he warrants serious attention; space in histories is not usually wasted
+on nonentities. We can see now that Jackson was misunderstood because
+the uses of the woodcut were rigidly circumscribed by tradition.</p>
+
+
+<h4 class = "ital"><a name = "status_woodcut" id = "status_woodcut">
+Status of the Woodcut</a></h4>
+
+<p><span class = "firstword">After</span> the 15th century the woodcut
+lost its primitive power and became a self-effacing medium for creating
+facsimile impressions of drawings and for illustrating and decorating
+books, periodicals, and cheap popular broadsides. At its lowest ebb, in
+the late 17th century, and in the 18th, it was used to make patterns for
+workers in embroidery and needlework and to supply outlines for
+wallpaper designs to be filled in later by “paper-stainers.”</p>
+
+<p>The prime deficiency of the woodcut as an art form lay in the
+division of labor which the process permitted. Draughtsmen usually drew
+on the blocks; the main function of the cutter was to follow the lines
+precisely and carefully. Small room existed for individual style or
+original interpretation; there was little in the technique to
+distinguish one cutter from another. In spite of these limitations,
+<span class = "pagenum">8</span>
+<a name = "page8" id = "page8"> </a>
+<!-- png 020 -->
+gifted cutters could rise beyond the dead level of ordinary practice. As
+fine draughtsmen with a feeling for their materials they did not trace
+with the knife, they drew and carved with it. Their feeling for line and
+shape was sensitive, crisp, and supple. But although they created the
+masterpieces of the medium they suffered from the traditional contempt
+for their craft. Creative ability in a woodcutter was rarely recognized,
+and the art fell into gradual decline. By the time the 18th century
+opened it had been almost entirely abandoned as a means of creating and
+interpreting works of art, and had been relegated to a minor place among
+the print processes.</p>
+
+<p>The attitude of the print connoisseur was clearly stated as early as
+1762 by Horace Walpole:<a class = "tag" name = "tag6" id = "tag6" href =
+"#note6">6</a></p>
+
+<p class = "quote">
+I have said, and for two reasons, shall say little of wooden cuts; that
+art never was executed in any perfection in England: engraving on metal
+was a final improvement of the art, and supplied the defects of cuttings
+in wood. The ancient wooden cuts were certainly carried to a great
+heighth, but that was the merit of the masters, not of the method.</p>
+
+<p>William Gilpin in 1768 went even further. Describing the various
+contemporary print processes he omitted the woodcut entirely as not
+worthy of consideration. He acknowledged that “wooden cuts” were once
+executed by early artists but made no additional reference to the
+medium.<a class = "tag" name = "tag7" id = "tag7" href =
+"#note7">7</a></p>
+
+<p>As late as 1844 Maberly<a class = "tag" name = "tag8" id = "tag8"
+href = "#note8">8</a> cautioned print amateurs to steer clear of block
+prints:</p>
+
+<p class = "quote">
+Prints, from wooden blocks, are much less esteemed, or, at least, are,
+generally speaking, of greatly less cost than engravings on copper; and
+there are connoisseurs who may, perhaps, consider them as rather
+derogatory to a fine collection.</p>
+
+<p>Specialized histories of wood engraving, written mainly by
+19th-century practitioners and bibliophiles, have tended to emphasize
+literal rendition rather than artistic vision. The writers favored wood
+engraving executed with the burin on the end grain of hard dense wood,
+such as box or maple, because it could produce
+<span class = "pagenum">9</span>
+<a name = "page9" id = "page9"> </a>
+<!-- png 021 -->
+finer details than the old woodcut, which made use of knife and
+horizontally grained wood. They judged by narrow craft standards
+concerned with exact imitation of surface textures. Linton, for example,
+is almost contemptuous in his references to the chiaroscuro woodcut:<a
+class = "tag" name = "tag9" id = "tag9" href = "#note9">9</a></p>
+
+<p class = "quote">
+... The poorest workman may suffice for an excellent chiaroscuro.
+I&nbsp;do not depreciate the artistic value as chiaroscuros of the
+various prints here noted nor underestimate the difficulty of
+production; but my business has been solely with the not difficult
+knifecutting and graver cutting of the same.</p>
+
+
+<h4 class = "ital"><a name = "trad_chiaro" id = "trad_chiaro">
+The Chiaroscuro Tradition</a></h4>
+
+<p><span class = "firstword">The chiaroscuro</span> woodcut was
+originally designed to serve a special purpose, to reproduce drawings of
+the Renaissance period. These were often made with pen and ink on paper
+prepared with a tint or with brush and wash tones on white or tinted
+paper. Highlights were made and modeled with brush and white pigment;
+the result had something of a bas-relief character. Neither line
+engraving nor etching was suited to reproducing these spirited drawings,
+but the chiaroscuro woodcut could render their effects admirably. Its
+nature, therefore, was conceived as fresh and spontaneous, as printed
+drawing, in fact.</p>
+
+<p>Chiaroscuros were usually of two types, the German and the Italian.
+The Germans specialized in reproducing line drawings made on toned paper
+with white highlights. The woodcuts, however, could stand by themselves
+as black-and-white prints; the tones required separate printing. The
+typical German chiaroscuro was therefore from two blocks. The earliest
+dated print in this style is Lucas Cranach’s <i>Venus</i>, with “1506”
+appearing on the black block. But the brown tint
+<span class = "pagenum">10</span>
+<a name = "page10" id = "page10"> </a>
+<!-- png 022 -->
+might have been added a few years later. Jost de Negker, working after
+drawings by Hans Burgkmair, cut blocks which are dated, on the black
+block at least, as early as 1508, and work by Hans Baldung and Hans
+Wechtlin appeared shortly after.</p>
+
+<p>The Italian style originated with Ugo da Carpi, who in 1516
+petitioned the Senate in Venice to grant him exclusive rights to the
+chiaroscuro process, which he claimed to have invented. For many years,
+until Bartsch adduced proof in favor of the Germans, da Carpi was
+conceded to be the founder of this process. His first work dates from
+1518 but obviously he produced prints earlier&mdash;how much earlier is
+uncertain. Working mainly after the loose, fresh wash drawings of
+Raphael and Parmigianino he developed a method of reducing their tonal
+constituents to two or three simple areas plus a partial outline, each
+of which was cut on a separate block. The blocks were then inked with
+transparent tones and printed one over the other to achieve gradations.
+White highlights were imitated, as in the German manner, by cutting out
+lines on a tone block to let the white paper assert itself. The result
+was a broadly treated facsimile of the original drawing. Some liberties
+were occasionally taken in interpretation, and sometimes fanciful
+changes were made in color combinations.</p>
+
+<p>This technique was followed in Italy during the remainder of the
+1500’s, the most prominent early workers being Antonio da Trento
+(Fantuzzi), Domenico Beccafumi, and Giuseppe Niccolò Vicentino. Late in
+the century Andrea Andreani acquired a large number of blocks by
+previous Italian chiaroscurists and reissued them, adding his own
+monogram. By multiplying these subjects he reduced their rarity and
+emphasized their distinct character, their difference from other types
+of prints. The Italian term “chiaroscuro,” meaning light and dark, has
+persisted as a generic name for this class of work.</p>
+
+<p>The Italian and German techniques were often pursued in variant
+styles. The Germans sometimes used three blocks, with outlines not only
+in black but in a tone and white as well. Burgkmair’s <i>Death as a
+Strangler</i> (B. 40)<a class = "tag" name = "tag10" id = "tag10" href =
+"#note10">10</a> and Wechtlin’s <i>Alcon Freeing his Son from the
+Serpent</i> (B.&nbsp;9) are of this type.</p>
+
+<p>The Italians, in turn, often used two blocks in the German fashion,
+reproducing a complete crosshatched pen drawing with one tint block.
+Even da Carpi used this procedure more than occasionally, as in <i>St.
+John Preaching in the Desert</i>
+<span class = "pagenum">11</span>
+<a name = "page11" id = "page11"> </a>
+<!-- png 023 -->
+after Raphael (B.&nbsp;XII), and in <i>The Harvest</i> after Giulio
+Romano (B.&nbsp;XII). Most other Italian chiaroscurists made frequent
+use of this method which had the virtue of simplicity. Outstanding
+exponents included Niccolò Boldrini, who worked chiefly after drawings
+by Titian, and in the early 17th century the brothers Bartolomeo and
+G.&nbsp;B.&nbsp;Coriolano. Andreani’s prints were usually in a more
+independent style which employed a clear outline in gray or soft brown
+with three tints blocks. While technical procedures were identical in
+Italian and German chiaroscuros after pen drawings, the Italian work
+tended to be looser than the German, which was more careful and
+methodical.</p>
+
+<p>The Italian style, then, strictly interpreted, was simply the da
+Carpi style. Less rigorously considered, it included the free Italian
+variants of the German process.</p>
+
+<p>Hendrick Goltzius of Haarlem, whose first chiaroscuros date from
+1588, combined both Italian and German influences with marvelously crisp
+drawing and cutting and sharper color combinations than were common.
+Paulus Moreelse, a&nbsp;Dutch artist in the first half of the 17th
+century, employed a dark block in clear outline but modeled his forms
+internally in the da Carpi manner. The technical procedure was therefore
+close to Andreani’s.</p>
+
+<p>A number of other well-known artists including Simon Vouet and
+Christoffel Jegher, and quite a few anonymous ones, also turned out
+occasional pieces in the first half of the 17th century, generally in
+the manner of da Carpi or Goltzius. Perhaps the most prolific was
+Ludolph Businck, who created prints in France especially after drawings
+by George Lallemand.</p>
+
+<p>After this period little was done in the medium until 1721, when
+Count Antonio Maria Zanetti in Venice made his first chiaroscuro
+woodcut. He worked consistently for almost thirty years and sent proofs
+to his friends in Europe, mostly important connoisseurs, through whom
+the prints became widely known. For the most part they were in the da
+Carpi style, to which he added a light charm. Between 1722 and 1724
+Elisha Kirkall in London published twelve chiaroscuros after Italian
+masters. The prints were done in a combination of media&mdash;etching
+and mezzotint with relief blocks in either wood or metal&mdash;and were
+outside the woodcut tradition, but they attracted attention to the old
+process. In about 1726 Nicolas and Vincent Le Sueur in Paris produced
+some chiaroscuros, and a year later Jackson made his first example. The
+Le Sueurs followed da Carpi’s method while Jackson used a
+<span class = "pagenum">12</span>
+<a name = "page12" id = "page12"> </a>
+<!-- png 024 -->
+loosely drawn outline and three tint blocks in a slight variation of the
+Andreani style.</p>
+
+<p>One characteristic was shared in common by all early chiaroscurists;
+their work always reproduced drawings, usually in exact size. Jackson
+added a new dimension to the medium in 1735 by beginning to work after
+oil paintings.<a class = "tag" name = "tag11" id = "tag11" href =
+"#note11">11</a> His attempt to convey their scale, solidity, and tonal
+range, while retaining the woodcut’s breadth of execution, was perhaps
+carrying the chiaroscuro into complexities for which it was not suited.
+The method called for extraordinary talents in planning, drawing,
+cutting, and printing, and it resulted in impressions that could not
+escape a certain heaviness of effect when compared with traditional
+work. Jackson’s prints in this style are both daring and original, but
+no later woodcutter had either the desire or the temerity to follow his
+example. The method remained a dead end in chiaroscuro.</p>
+
+<hr>
+
+<p class = "illustration">
+<img src = "images/pic12.png" width = "211" height = "200"
+alt = "see caption">
+</p>
+
+<p class = "caption">
+<span class = "smallcaps">Tailpiece</span> in <i>L’Histoire naturelle
+éclaircie dans une de ses parties principales, l’oryctologie</i>, by
+D.&nbsp;d’Argenville, De Bure, Paris, 1755. This is one of the cuts
+Jackson made between 1725-1730. Actual size.
+<span class = "addlink">
+<a href = "images/pic12_large.png" target = "_blank">Enlarged
+view.</a></span></p>
+
+
+<a name = "page13" id = "page13"> </a>
+<!-- png 025 -->
+
+<h2 class = "chapter"><a name = "work" id = "work">
+Jackson and His Work</a></h2>
+
+
+<span class = "pagenum">14</span>
+<a name = "page14" id = "page14"> </a>
+<!-- png 026 -->
+
+<h4 class = "ital"><a name = "england" id = "england">
+England: Obscure Beginnings</a></h4>
+
+<p><span class = "dropcap">L</span><span class =
+"firstword">ittle</span> is known of Jackson’s early years. It is
+assumed that he was born in England about 1700, although many accounts,
+probably based upon Nagler, have him born in 1701. Papillon<a class =
+"tag" name = "tag12" id = "tag12" href = "#note12">12</a> conjectures
+that he studied painting and engraving on wood with “an English painter”
+named “Ekwits,” but is not sure he remembers the name correctly. He
+believes this artist engraved most of the head pieces and ornaments in
+Mattaire’s <i>Latin Classics</i>, published by J.&nbsp;and
+R.&nbsp;Tonson and J.&nbsp;Watts in London, 1713, and remarks on
+similarities with Jackson’s style. Chatto<a class = "tag" name = "tag13"
+id = "tag13" href = "#note13">13</a> believes these cuts were executed
+by Elisha Kirkall, interpreting the initials <i>EK</i> appearing on one
+of the prints to refer to this engraver rather than to “Ekwits.” He goes
+on to assume that Kirkall also engraved the blocks for Croxall’s edition
+of <i>Aesop’s Fables</i>, 1722, by the same publisher, and adds that
+Jackson was probably his apprentice and might have had some share in
+their execution. Most accounts of Jackson, taking Chatto’s word, note
+him as a pupil of Kirkall.</p>
+
+<p>Linton<a class = "tag" name = "tag14" id = "tag14" href =
+"#note14">14</a> believes that only Kirkall or Jackson could have made
+the cuts, “unless some <i>Sculptor ignotus</i> is to be credited with
+that most notable book of graver-work in relief preceding the work of
+Bewick.”</p>
+
+<p>But it is doubtful that Jackson was a pupil of Kirkall. For this
+assumption we have the evidence of a curious and important little book,
+<i>An Enquiry into the Origins of Printing in Europe</i>,<a class =
+"tag" name = "tag15" id = "tag15" href = "#note15">15</a> which because
+of a misleading title and an anonymous author has been overlooked as a
+reference source. It is a transcription of Jackson’s manuscript journal
+and was prepared for publication to coincide with
+<span class = "pagenum">15</span>
+<a name = "page15" id = "page15"> </a>
+<!-- png 027 -->
+the launching of the wallpaper venture, Kirkall is mentioned as follows
+(pp. 25-26):</p>
+
+<p class = "quote">
+... I shall give a brief account of the State of Cutting on Wood in
+England for the type Press before he [Jackson] went to France in 1725.
+In the beginning of this Century a remarkable Blow was given to all
+Cutters on Wood, by an invention of engraving on the same sort of Metal
+which types are cast with. The celebrated Mr. <i>Kirkhal</i>, an able
+Engraver on Copper, is said to be the first who performed a Relievo Work
+to answer the use of Cutting on Wood. This could be dispatched much
+sooner, and consequently answered the purpose of Book-sellers and
+Printers, who purchased these sort of Works at a much chaper [sic] Rate
+than could be expected from an Engraver on Wood....</p>
+
+<p>It does not seem reasonable that Jackson would learn the art of
+woodcutting from Kirkall and then refer to him as a famous engraver on
+copper and type metal. It is just as difficult to believe that Kirkall
+taught Jackson to work on metal, not wood.</p>
+
+<p>The “EK” who engraved the blocks for Mattaire’s <i>Latin Classics</i>
+might very well have been Kirkall, whose style also might have had
+something in common with Jackson’s early work. But this would not
+necessarily indicate a definite influence. English pictorial relief
+prints for book illustration in the first decades of the 18th century
+had one characteristic in common; they were almost all done with the
+engraver’s burin on type metal or end-grain boxwood. They therefore
+showed elements of a “white-line” style as opposed to the black-line or
+knife-cut method commonly used in other countries. While it is likely
+that Jackson was an exception to the general rule in England (we have
+his word for it in the <i>Enquiry</i>, as we shall see), he was also
+deeply influenced by the prevailing English style of burin work on wood
+or type metal. If Papillon saw a similarity between Jackson’s cuts and
+those in the <i>Latin Classics</i>, it might have been because he was
+unfamiliar with other examples of English work and did not recognize a
+national style.</p>
+
+<p>The initials “J. B. I.” appear on a small cut in the 1717 edition of
+Dryden’s plays, also published by Tonson. If this is an early piece by
+Jackson it would indicate that he might have been born earlier than
+1701, although it is conceivable that he could have made it when he was
+sixteen.</p>
+
+<p>This is the extent of the evidence, or rather lack of evidence, of
+Jackson’s early years in England. Nothing is certain except that
+woodblock work was at a
+<span class = "pagenum">16</span>
+<a name = "page16" id = "page16"> </a>
+<!-- png 028 -->
+particularly low ebb. Standards in typography and printing were rude
+(Caslon was just beginning his career), far inferior to those on the
+Continent. Cuts were used rather sparingly by printers, and almost
+always for initial letters (these included little pictures), for
+tailpieces, and for decorative borders. As a measure of economy the same
+cut was often repeated throughout a book. Also, initial letters were
+sometimes contrived to permit the type for different capitals to be
+inserted in the center area, so that in some instances no more than two
+cuts were needed to begin alternate chapters in a volume. Rarely were
+woodblocks employed to illustrate the text. Pictures were almost always
+supplied by the copper-plate engraver, even when the prints were small
+and surrounded with typographical matter. This was an expensive and
+troublesome procedure, but it was the only one possible where an able
+group of cutters or engravers on wood did not exist and where printers
+found it difficult to achieve good impressions on the uneven laid paper
+of the time.</p>
+
+<p>The main employment for knife cutters on wood was in making the
+popular prints, or illustrated broadsides, which had been sold in city
+and village throughout the country since the early 1600’s.&nbsp;Plank
+and knife could be used for these prints because of the generally large
+size of the pictures and the lack of sophistication of the audience.
+They are described by Bewick from his memories as a boy in the 1760’s:<a
+class = "tag" name = "tag16" id = "tag16" href = "#note16">16</a></p>
+
+<p class = "quote">
+I cannot, however, help lamenting that, in all the vicissitudes which
+the art of wood engraving has undergone, some species of it are lost and
+done away: I&nbsp;mean the large blocks with the prints from them, so
+common to be seen, when I was a boy, in every cottage and farm house
+throughout the country. These blocks, I&nbsp;suppose, from their size,
+must have been cut on the plank way on beech, or some other kind of
+close-grained wood; and from the immense number of impressions from
+them, so cheaply and extensively spread over the whole country, must
+have given employment to a great number of artists, in this inferior
+department of woodcutting.... These prints, which were sold at a very
+low price, were commonly illustrative of some memorable exploits, or
+were, perhaps, the portraits of eminent men.... Besides these, there
+were a great variety of other designs, often with songs added to them of
+a moral, a&nbsp;patriotic, or a rural tendency, which served to enliven
+<span class = "pagenum">17</span>
+<a name = "page17" id = "page17"> </a>
+<!-- png 029 -->
+the circle in which they were admired. To enumerate the great variety of
+these <i>pictures</i> would be a task.</p>
+
+<p>Bewick adds that some of these popular woodcuts, although not the
+great majority, were very good. Since this was the main field for
+woodcutters, it is an interesting conjecture that Jackson might have
+been trained for this craft. As he matured, we can assume that he felt
+the urge to excel as a woodcutter and left the country to develop his
+potentialities.</p>
+
+<p>It must be remembered that in painting and engraving England was far
+behind the continental countries, which could boast of centuries of
+celebrated masters. The medieval period persisted in England until the
+time of Henry VIII. Traditional religious subjects, so indispensable to
+European art, were thereafter generally proscribed. There was no
+fondness as yet for themes of classical mythology, and the new and
+developing national tradition in painting had to form itself on the only
+remaining field of pictorial expression, portraiture. Standards of style
+were set by foreign artists who were lured to England to record its
+prominent personages in a fitting manner. Beside such masters as
+Holbein, Zuccaro, Moro, Geeraerts, Van Dyck, Mytens, Lely, Kneller,
+Zoffany, and Van Loo, among others, native painters seemed crude and
+provincial. The list of foreign artists other than portraitists who
+visited England before 1750 for varying periods is also impressive.</p>
+
+<p>If good native painters were rare in the first decades of the 18th
+century, good engravers or woodcutters were even rarer. Hogarth, whose
+earliest prints were produced in the 1720’s, received his training from
+a silversmith.</p>
+
+<p>Jackson’s next move was toward the Continent.</p>
+
+
+<h4 class = "ital"><a name = "paris" id = "paris">
+Paris: Perfection of a Craft</a></h4>
+
+<p><span class = "firstword">Jackson</span> arrived in Paris in 1725,
+his age 24 if we accept 1701 as his birth date. Here flourished a
+brilliant community of artists, craftsmen, dealers, and connoisseurs;
+woodcutting, etching, and line engraving were highly developed and the
+printing offices made extensive use of woodcuts for decoration and
+illustration. The
+<span class = "pagenum">18</span>
+<a name = "page18" id = "page18"> </a>
+<!-- png 030 -->
+woodcut tradition mimicked line engraving and was confined chiefly to
+tiny blocks wrought with the utmost delicacy. The main influence came
+from the 17th century&mdash;in particular from the etchings and line
+engravings of Sébastien Le Clerc and from the etchings of Jacques
+Callot, whose simple system of swelling parallel lines, with occasional
+cross-hatchings, was adopted by both line engravers and woodcutters.</p>
+
+<p>Le Clerc, whose style was influenced by Callot, had produced a vast
+number of illustrations involving subjects of almost every type; his
+designs, therefore, were ready-made for publishers who wanted good but
+low-priced illustrations. Woodcutters copied his engravings shamelessly,
+line for line. The overblown high Baroque style in ornament, swag, and
+cartouche was also drawn upon as a source for decorative cuts. In an
+attempt to imitate the full tonal scale of engraving, the woodcutters
+used heavier lines in the foreground to detach the main figures from the
+background, which was made up of more delicate lines. Background lines
+were often narrowed further by scraping down their edges, an operation
+that caused them to merge imperceptibly into the white paper. In this
+way, although the natural vigor of the woodcut suffered, an effect of
+space and distance was achieved. Because of the small scale this
+technique was difficult, especially when cross-hatching was added, and
+special knives as well as a phenomenal deftness were needed to work out
+these bits of jewelry on the plank grain of pear, cherry, box, and
+serviceberry wood.</p>
+
+<p>Jackson’s initial impression of the state of woodcutting in France is
+described in the <i>Enquiry</i> (p. 27):</p>
+
+<p class = "quote">
+From this Account it is evident that there was little Encouragement to
+be hoped for in England to a Person whose Genius led him to prosecute
+his Studies in the ancient Manner; which obliged Mr. <i>Jackson</i> to
+go over to the Continent, and see what was used in the <i>Parisian</i>
+Printing-houses. At his arrival there he found the <i>French</i>
+Engravers on Wood working in the old Manner; no Metal Engravers, or any
+of the same Performance on the end of the Wood, was ever used or
+countenanced by the Printers or Booksellers in that City. He tells us
+that he thought himself a tolerable good Hand when he came to
+<i>Paris</i>, but far inferior to the Performances of Monsieurs
+<i>Vincent le Seur</i> and <i>Jean M.&nbsp;Pappillon</i>....</p>
+
+<p>Jackson admits benefiting from the friendship and advice of these
+woodcutters, then goes on to describe their work with a ruthless
+frankness. Le Sueur, he
+<span class = "pagenum">19</span>
+<a name = "page19" id = "page19"> </a>
+<!-- png 031 -->
+says, was a brilliant copyist of the line engravings of Sébastien Le
+Clerc but, because he was a line-for-line copyist, lacked skill in
+drawing. Papillon’s father, also a woodcutter who copied <ins class =
+"correction" title = "printed without space">LeClerc</ins>, avoided
+cross-hatching, which Jackson considered an essential ingredient of the
+true style of black-and-white woodcutting; Papillon himself, while
+described as a draughtsman of the utmost accuracy, was criticized for
+making his work so minute that it was impossible to print clearly.
+Jackson says in the <i>Enquiry</i> (pp. 29-30):</p>
+
+<p class = "quote">
+If his Father neglected Cross Hatching, the Son affected to outstrip the
+<i>le Seurs</i> in this difficult Performance, and even the ancient
+<i>Venetians</i>, believing to have fixed a <i>Non plus ultra</i> in our
+Times to any future Attempts with Engraving on Wood.</p>
+
+<p class = "quote">
+... I&nbsp;saw the Almanack<a class = "tag" name = "tag17" id = "tag17"
+href = "#note17">17</a> in a horrid Condition before I left
+<i>Paris</i>, the Signs of the Zodiack wore like a Blotch,
+notwithstanding the utmost Care and Diligence the Printer used to take
+up very little Ink to keep them clean. I&nbsp;have chosen to make
+mention of these two <i>Frenchmen</i> as the only Persons in my time
+keeping up to the Stile of the ancient Engraving on Wood; and as they
+favoured me with their Friendship and Advice during my abode in
+<i>Paris</i>, I&nbsp;thought in Justice to their good Nature it was
+proper to give some Account of their Merit!</p>
+
+<p>Acknowledgment of friendship and merit in this vein, while entirely
+true (Papillon was minute to the point of exhibitionism, and his cuts
+were often not adapted to clear printing), demonstrates the lack of tact
+that made powerful enemies for Jackson wherever he traveled. Papillon no
+doubt read the <i>Enquiry</i>, in which he was discussed at length, and
+the well-known <i>Essay</i>, with its aggressive tone and irresponsible
+claims. When Papillon’s <i>Traité</i> came out in 1766 he took the
+opportunity to put the English artist in his place. Certainly his
+account was colored by Jackson’s writings; there is no other explanation
+for this display of personal bitterness in a work published 36 years
+after the Englishman left Paris (pp. 327-328):</p>
+
+<p class = "quote">
+J.&nbsp;Jackson, an Englishman who lived in Paris for a few years, might
+have perfected himself in wood engraving, which he had learned, as I
+said previously on page 323, from an English painter, if he had been
+willing to follow my advice. As soon as he arrived in Paris he came to
+me asking for work; I&nbsp;gave him some things to execute for a few
+months in order to allow him to live, for which he repaid me with
+ingratitude by making a duplicate of a floral ornament of my design
+which he offered, before delivering the block to me, to the person for
+whom it was to be
+<span class = "pagenum">20</span>
+<a name = "page20" id = "page20"> </a>
+<!-- png 032 -->
+made. From the reproaches I received when the matter was discovered,
+I&nbsp;refused, naturally, to employ him further. Then he went the
+rounds of the printing houses in Paris, and was forced to offer his work
+ready-made and without order, almost for nothing, and many printers,
+profiting by his distress, supplied themselves amply with his cuts. He
+had acquired a certain insipid and limited taste, little above the
+mosaics on snuffboxes, similar to other mediocre engravers, with which
+he surcharged his works. His mosaics, however delicately engraved, are
+always lacking in effect, and show the engraver’s patience and not his
+talent; for the remainder of the cut has only delicate lines without
+tints or gradations of light and shade, and lack the contrast necessary
+to make a striking effect. Engravings of this sort, however deficient in
+this regard, are admired by printers of vulgar taste who foolishly
+believe that they closely resemble copper plate engraving, and that they
+give better impressions than those of a picturesque type having a
+greater variety of tints.</p>
+
+<p class = "quote">
+Jackson, having been forced by poverty to leave Paris, where he could
+find nothing further to do, traveled in France; then, disgusted with his
+art, he followed a painter to Rome, after which he went to Venice,
+where, I&nbsp;am told, he married, and then returned to England, his
+native country.</p>
+
+<p>Whether or not Jackson was unethical he was certainly an active
+competitor and many printers “supplied themselves amply with his cuts.”
+He must have produced an enormous amount of work during his five years
+in Paris because John Smith, in his <i>Printers Grammar</i>,<a class =
+"tag" name = "tag18" id = "tag18" href = "#note18">18</a> says that
+Jackson’s cuts were used so widely and for so many years in Paris that
+they replaced the fashion of using “flowers,” or typographical
+ornaments, and that this style did not come into vogue again until the
+cuts were completely worn down through use.</p>
+
+<p>This statement is not entirely true, but it is probable that
+Jackson’s woodcuts, more broadly executed than the typical French
+products, outlasted all others of the 1725-30 period. They were
+consistently re-used, and appeared, as far as they can be traced, well
+into the 1780’s.<a class = "tag" name = "tag19" id = "tag19" href =
+"#note19">19</a></p>
+
+<p>Elsewhere in the <i>Traité</i>, however, Papillon has a good word for
+Jackson’s abilities:<a class = "tag" name = "tag20" id = "tag20" href =
+"#note20">20</a></p>
+
+<p class = "quote">
+Jackson, of whom I have already spoken, also engraved in chiaroscuro;
+I&nbsp;have a little landscape by him which is very nicely done.</p>
+
+<span class = "pagenum">21</span>
+<a name = "page21" id = "page21"> </a>
+<!-- png 033 -->
+<p>It was inevitable that Papillon and Jackson should clash. The
+Frenchman’s notion of woodcutting was influenced, as we have seen, by
+copper plate engraving; he wanted, by incredible minuteness of cutting,
+to achieve approximately the same results. This was in keeping with the
+delicate French <i>rocaille</i> tradition on which Papillon was
+nurtured; to him any other contemporary style of book decoration was
+evidence of bad taste. Jackson, on his part, felt that this approach
+violated the essentially broad, vigorous nature of the woodcut and, in
+addition, made excessive demands on the printer. Since this impoverished
+beginner, and an Englishman at that, refused to take his earnest advice
+or to fall into the prevailing style, Papillon was enraged. After all,
+Jackson was working as an employee. But Papillon was not entirely blind.
+In a number of places in the <i>Traité</i> he made reference to other
+woodcutters who were working in Jackson’s style, and he recorded some of
+the works the Englishman illustrated during his five years in Paris.</p>
+
+<p class = "illustration">
+<img src = "images/pic21.png" width = "297" height = "53"
+alt = "see caption">
+</p>
+
+<p class = "caption">
+<span class = "smallcaps">Headpiece</span> by J. M. Papillon for his
+<i>Traité historique et pratique de la gravure en bois</i>, Paris, 1766,
+vol.&nbsp;3. This is an example of Papillon’s minute style, against
+which Jackson rebelled. Actual size.
+<span class = "addlink">
+<a href = "images/pic21_large.png" target = "_blank">Enlarged
+view.</a></span></p>
+
+<p>Jackson’s blossoming out as a maker of wallpaper after his return to
+England and his brash claims in this connection in the <i>Essay</i>,
+must also have irked Papillon, who knew the field as an expert; his
+father in 1688 had set up the first large printing house in France for
+wall hangings, and after his death in 1723 Papillon had inherited it. In
+1740, he sold the business to the widow Langlois, but he had run the
+shop during Jackson’s residence in Paris and his former employee no
+doubt had learned a great deal by observing its operation. Yet here more
+than twenty years later was the upstart Englishman again, venturing into
+wallpaper manufacturing with an air of moral superiority, attacking all
+other products as unworthy. Jackson’s ridiculing of the Chinese style
+must have been particularly galling since
+<span class = "pagenum">22</span>
+<a name = "page22" id = "page22"> </a>
+<!-- png 034 -->
+Papillon and his father had specialized in producing such papers. These
+were much better than comparable English work, but Jackson, confining
+himself to English products, had attacked the whole style without making
+distinctions.</p>
+
+<p>According to the <i>Enquiry</i> (pages 32-55 of this book will be
+drawn upon for the ensuing details of Jackson’s career),
+M.&nbsp;Annison, Director of the Imprimerie Royale, for whom Jackson
+produced many cuts, introduced him to Count de Caylus, collector,
+connoisseur, etcher, and the leading spirit in French engraving at the
+time. De Caylus had, in 1725, undertaken to direct the reproduction of
+drawings and paintings in the best French collections.<a class = "tag"
+name = "tag21" id = "tag21" href = "#note21">21</a> Pierre Crozat, the
+famous collector, sponsored the publication of this ambitious work.</p>
+
+<p>The drawings were reproduced in chiaroscuro while the paintings were
+rendered in black-and-white by a corps of engravers. The chiaroscuros
+were made by combining an etched outline, usually by de Caylus or
+P.&nbsp;P.&nbsp;A. Robert, with superimposed tones, mainly in green or
+buff, from one or two woodblocks cut in most cases by Nicolas Le Sueur,
+or under his direction. This was not a new printing method. Hubert (not
+Hendrick) Goltzius had first employed it in a set of Roman emperors
+after antique medallions in 1557.<a class = "tag" name = "tag22" id =
+"tag22" href = "#note22">22</a> To reproduce drawings by Raphael,
+Parmigianino, and himself, Abraham Bloemart, as well as Frederick and
+Cornelius Bloemart in the early 1600’s, had used this combination
+extensively, and as described earlier, p. 11, Kirkall had used it
+between 1722 and 1724.<a class = "tag" name = "tag23" id = "tag23" href
+= "#note23">23</a> The combination method produced rather feeble prints
+that lacked the vigor of straight woodblock chiaroscuro. The etched
+outline was thin and ineffective, and the tints were pallid so as not to
+overpower the drawing. Only Abraham Bloemart’s prints in this style were
+convincing, although Kirkall’s chiaroscuros, in their soft, over-modeled
+way, had individuality. But the <i>Cabinet Crozat</i> lacked distinction
+entirely. The chiaroscuros had a mechanical look, a&nbsp;fact not
+surprising when we remember that they were produced by a team of
+engravers&mdash;assembled, as it were,
+<span class = "pagenum">23</span>
+<a name = "page23" id = "page23"> </a>
+<!-- png 035 -->
+from several hands working in different media. The best prints were a
+few chiaroscuros made entirely from woodblocks by Nicolas Le Sueur,
+although these were also rather tepid, no doubt to harmonize with the
+rest of the work.</p>
+
+<p>Jackson tells us that he worked on some tint blocks, first from a
+drawing by Giulio Romano and later from a drawing by Raphael, <i>Christ
+Giving the Keys to St. Peter</i>, the original <i>modello</i> for one of
+the famous tapestry cartoons. Count de Caylus, he says, liked the work
+and wanted to employ him further on the project, but Crozat rejected him
+flatly. De Caylus, according to Jackson, was embarrassed and distressed
+and offered recompense for the lost time and labor, but Jackson, not to
+be outdone in generosity by a nobleman, refused, explaining that the
+honor of knowing the Count and receiving his approbation more than made
+up for his lost effort.</p>
+
+<p>Vincent Le Sueur objected to the combination method and withdrew
+early from the project. Possibly Jackson, who also disliked this method
+and was not known for his discretion, was considered by Crozat to be a
+disruptive element. Possibly his style of cutting was not retiring
+enough for Crozat’s tasteful French notion of chiaroscuro. This project,
+in any case, aroused the Englishman’s interest in the process. <i>Christ
+Giving the Keys to St. Peter</i>, after Raphael, made about 1727, was
+probably Jackson’s first chiaroscuro woodcut. No doubt he produced it on
+his own and offered it as a plate for the publication, perhaps at the
+time he was commissioned to cut the tint blocks to be used in
+combination with de Caylus’ etching of this subject.</p>
+
+<p>With both Papillon and the powerful Crozat against him, Jackson was
+finished in Paris. De Caylus urged him to go to Italy. Accordingly, in
+April 1730, he left Paris in the company of John Lewis, an English
+painter, and set out for Rome, where he expected to continue his studies
+in drawing and deepen his knowledge of art.</p>
+
+<p>Jackson’s style was still being formed during his Paris period.
+Confined for the most part to initial letters, headbands, and
+tailpieces, his work differed from contemporary French cuts only in its
+technical handling, which was firmer and broader. Little of a more
+creative nature came his way, and the Paris stay therefore served as a
+useful interim during which he became adept in his craft. The necessity
+for keeping himself alive by cutting on wood developed his powers of
+invention
+<span class = "pagenum">24</span>
+<a name = "page24" id = "page24"> </a>
+<!-- png 036 -->
+and his facility: he became a remarkably rapid and skillful cutter.
+Jackson gathered strength in Paris, but it was in Venice that he really
+came to maturity as an artist.</p>
+
+<hr>
+
+<p class = "illustration">
+<img src = "images/pic24.png" width = "445" height = "379"
+alt = "see caption">
+</p>
+
+<p class = "caption">
+<span class = "smallcaps">Tailpiece</span> in <i>Histoire générale de
+Languedoc</i>, by Claude Vic and J.&nbsp;J. Vaissete, Paris, 1730,
+vol.&nbsp;1. Note the even tone and clean cutting compared with
+Papillon’s light-and-dark contrasts and dainty cutting. Actual size.</p>
+
+
+<span class = "pagenum">25</span>
+<a name = "page25" id = "page25"> </a>
+<!-- png 037 -->
+
+<h4 class = "ital"><a name = "venice" id = "venice">
+Venice: The Heroic Effort</a></h4>
+
+<p><span class = "firstword">After</span> leaving Paris, Jackson and
+Lewis journeyed to Marseilles, where Jackson became seriously ill and
+remained for six months, while Lewis continued to Genoa. Regaining his
+health, Jackson went on to Genoa and then to Leghorn, Pisa, and Lucca,
+arriving in Florence in January 1731. There, during a stay of several
+months, he discussed with the Grand Duke of Tuscany a reprinting of
+Vasari’s <i>Lives of the Painters</i>. Jackson was to make cuts for the
+headpieces, but the project was eventually dropped, and he continued to
+Bologna, where he remained a month chiefly in the company of the
+woodcutter G.&nbsp;M. Moretti, who showed him some original blocks cut
+by Ugo da Carpi for printing in chiaroscuro. He then proceeded to
+Venice, arriving “three Days before the Feast of the Ascension in 1731,
+and was highly surprized to find no one Engraver on Wood capable to do
+such poor Work, he has seen at Bolonia.” Jackson was amply supplied with
+strong recommendations from Florence, and on showing his work to leading
+printers was urged to settle in Venice, where a fine woodcutter capable
+of both designing and executing cuts was urgently needed. Here he also
+met Count Antonio Maria Zanetti, who was well-known as a chiaroscuro
+woodcutter besides being a collector and patron of the arts. Their first
+meeting is described in the <i>Enquiry</i>:</p>
+
+<p class = "quote">
+... very soon after his [Jackson’s] Arrival he had an Interview with
+Signior <i>Antonio Maria Zannetti</i>; from the Accounts he had heard
+from Mr. <i>Marriette</i> in <i>France</i> of this Man’s Work in
+<i>Chiaro Oscuro</i>, he expected to see some wonderful Performance, but
+<i>Parturiunt montes nascetur ridiculus mus</i> is a most applicable
+Proverb on this Occasion. I&nbsp;who have perused this grand Raccolta of
+<i>Zannetti’s</i>, must acknowledge that they are a trifling
+Performance, inferior to any Attempts of this Kind in our Times; and
+indeed it is no Wonder, when we come to know that this Man never used a
+Press, nor so much as a Hand Roll to print his Works with. Our
+Countryman says he had room to suspect he neither did cut or print these
+Works, which was confirmed by the poor Men who performed both. But such
+was the Vanity of this Author, that he told the Public in his
+Dedications that he was the Restorer of that lost Art, whereas he only
+drawed them on the Blocks,
+<span class = "pagenum">26</span>
+<a name = "page26" id = "page26"> </a>
+<!-- png 038 -->
+which might have been done as well by those that cut and printed them.
+At this first Interview the low Cunning of this Man was discovered....<a
+class = "tag" name = "tag24" id = "tag24" href = "#note24">24</a></p>
+
+<p>Jackson undoubtedly disliked Zanetti’s soft and delicate treatment,
+so characteristic of 18th-century work, and considered his
+interpretation of Parmigianino and Raphael little short of sacrilege.
+Since Jackson was incapable of hiding his feelings a quarrel became
+inevitable. The first rift came when Zanetti let Jackson have for a few
+weeks a drawing by Parmigianino, the <i>Venus and Cupid with a Bow</i>,
+to be executed in four blocks. The print was done “intirely in
+<i>Hugo’s</i> [da Carpi’s] manner, with this Difference, that no
+<i>Oscuro</i> block has a Contour to resemble the original Drawing it
+was done from, which is seldom seen in <i>Hugo’s</i> works....” Zanetti,
+surprised by the fine quality of the first proof, proposed to pass it
+off on Mariette in Paris as an original da Carpi print. He even stained
+it and cut holes in it to give the impression of aged worm-eaten paper.
+At the same time Jackson executed another chiaroscuro, also based on a
+Parmigianino drawing, the <i>Woman Standing Holding Jar on her Head</i>.
+Zanetti, says the <i>Enquiry</i>&mdash;</p>
+
+<p class = "quote">
+... caressed the Author with the highest Expressions of Zeal for his
+Service, protesting he would communicate his Capacity to his
+Correspondents all over <i>Europe</i>, which would be the Means to
+advance his Fortune, especially amongst the <i>English</i> Quality and
+Gentry who travelled <i>Italy</i>. The intent of all those fine Promises
+was to get the two Sets of Blocks into his Hands, which he expected as a
+Present for the Use of the two original Drawings, from which these
+Prints were taken; but this not being complyed with, the
+<i>Restaurati</i> expressed a Resentment at this Refusal, and took all
+the Opportunities to distress the Undertakings of any Sort performed by
+Mr. <i>Jackson</i>, during fourteen Years Residence in
+<i>Venice</i>.</p>
+
+<p>Zanetti was charged, in some obscure way, with obstructing Jackson’s
+work in cutting 136 blocks for the <i>Istoria del Testamento Vecchio e
+Nuovo</i>, popularly known as the <i>Bibbia del Nicolosi</i>,<a class =
+"tag" name = "tag25" id = "tag25" href = "#note25">25</a> published by
+G.&nbsp;B. Albrizzi in 1737. We are informed that Filippo Farsetti, one
+of Jackson’s patrons, paid him for the whole set of cuts after rebuking
+Zanetti for interference.</p>
+
+<span class = "pagenum">27</span>
+<a name = "page27" id = "page27"> </a>
+<!-- png 039 -->
+<p>The Englishman evidently was kept well occupied with preparing cuts
+for printers, among them Baglioni and Pezzana. For the latter he made 24
+woodcuts for a quarto edition of a <i>Biblia Sacra</i> and an
+unspecified number of ornaments for a folio edition. Jackson was given a
+free hand to conceive and carry out the cuts as he pleased.</p>
+
+<p>While working on these prints he began&mdash;</p>
+
+<p class = "quote">
+to consider on his favourite Work in <i>Chiaro Oscuro</i>, and by
+intervals examined what he had projected at <i>Paris</i>. He began first
+to make experiments with Tints, and having proved that Four Impressions
+could produce Ten positive Tints, besides <i>Tratti</i> and
+<i>Lights</i>; he resolved to try a large Piece from <i>Rubens’s</i>
+Judgment of <i>Solomon</i>, with an intent to prove what could be done
+with the Efforts of a Type Press before he launched into greater
+Expences with another Machine.</p>
+
+<p>He wanted this press in his home, where he could experiment as he
+pleased without tying up workmen or equipment in Pezzana’s shop. It
+might have been professional delicacy that prompted him to ask Pezzana’s
+permission to have a private press built, or it might have been a bid
+for patronage from the generous and influential printer. In any event,
+Pezzana responded by having his carpenters build and install the press
+at his own expense. To avoid official registrations or craft suspicions,
+he had it registered as his own. The trial proofs of <i>The Judgment of
+Solomon</i>, printed from four blocks, pleased Jackson in every regard
+except vigor of impression. Unfortunately no edition was published,
+despite the dedication to Filippo Farsetti.</p>
+
+<p>Finished in 1735, this woodcut was probably the first to translate a
+painting in a full range of tones. From the purely technical standpoint
+it was an incredible achievement. Jackson created a vivid approximation
+of a large and complex painting and at the same time produced a vigorous
+woodcut. From four superimposed woodblocks, with almost no linework, he
+was able to capture the full-blooded forms of Rubens. By keeping his
+means simple Jackson asserted the importance of his cutting and
+printing, the expressiveness of his drawing, and the fluidity of his
+tones. Obviously such a procedure required major decisions as to what to
+omit and what to stress; in other words it required interpretive
+abilities of a high order.</p>
+
+<p>Evidently Jackson believed that his new chiaroscuro method required
+heavier pressure than the platen press was capable of. (On the usual
+wooden screw press
+<span class = "pagenum">28</span>
+<a name = "page28" id = "page28"> </a>
+<!-- png 040 -->
+the size of the platen never exceeded 13 by 19 inches, because the
+impressions made with a larger platen would not have been strong enough;
+for prints larger than the platen, the bed was moved and the platen
+pulled down twice.) He had the press returned to Pezzana and set out to
+build a more suitable printing machine.</p>
+
+<p class = "quote">
+He found there were other means to be employed beside a Type Press, and
+having examined the Theory of his Invention put it in Practice, by
+erecting a Rolling Press of another Construction than what is used for
+printing Copper Plates.</p>
+
+<p class = "illustration floatright">
+<img src = "images/pic28.png" width = "238" height = "180"
+alt = "see caption">
+</p>
+
+<p class = "caption floatright w24">
+<span class = "smallcaps">Illustration</span> in <i>Biblia Sacra</i>
+published by Hertz, Venice, 1740, vol.&nbsp;1. Originally cut by Jackson
+for Albrizzi’s <i>Istoria del Testamento Vecchio e Nuovo</i>, Venice,
+1737. Actual size.
+<span class = "addlink">
+<a href = "images/pic28_large.png" target = "_blank">Enlarged
+view.</a></span></p>
+
+<p>In Paris Jackson had suggested using a cylinder press for printing
+wood blocks. The gentlemen to whom the suggestion was made, Count de
+Caylus, Coypel, and Mariette, were sure that the enormous pressure would
+split the blocks. The Englishman, on the contrary, felt that the
+pressure, properly controlled by a chase, would hold the blocks
+together. Printing would be much more rapid and the exceptional vigor of
+the impression would suggest a hand drawing. The use of cylinder presses
+for chiaroscuro printing was already well known to experts. George
+Lallemand and Ludolph Businck, sometime between 1623 and 1640, had used
+not one but a series of six cylinders on three joined presses, with
+three printers simultaneously inking separate blocks with different
+tones. Impressions were then printed from each block in succession.
+Papillon<a class = "tag" name = "tag26" id = "tag26" href =
+"#note26">26</a> described this press, and also another with a special
+chase designed at an unspecified date by Nicolas Le Sueur. Jackson’s
+prints show a much stronger impression than those of Businck or Le
+Sueur. No details of his press are known, although Thomas Bewick<a class
+= "tag" name = "tag27" id = "tag27" href = "#note27">27</a> reported
+that Jackson as an old man had shown him a drawing of its
+construction.</p>
+
+<span class = "pagenum">29</span>
+<a name = "page29" id = "page29"> </a>
+<!-- png 041 -->
+
+<p class = "illustration floatleft">
+<img src = "images/pic29.png" width = "239" height = "176"
+alt = "see caption">
+</p>
+
+<p class = "caption floatleft w24">
+<span class = "smallcaps">Illustration</span> for Albrizzi’s
+<i>Istoria</i>, in which it was cut No. 136. From Hertz’s <i>Biblia
+Sacra</i>, vol.&nbsp;1. Actual size.
+<span class = "addlink">
+<a href = "images/pic29_large.png" target = "_blank">Enlarged
+view.</a></span></p>
+
+<p>The cylinder press of Jackson’s design was finished in 1735 and paid
+for by the income from prolonged sieges of work for printing offices.
+But the overwork and resulting exhaustion laid him low; a&nbsp;serious
+illness followed and for several months he was close to death. When he
+eventually regained his health he found that his cuts for Baglioni and
+Pezzana had been copied and mutilated by an engraver at Ancona. This
+pirate was encouraged by the head of a large printing establishment
+newly founded in Venice, who thereupon offered Jackson work at greatly
+reduced prices. He refused the offer. With hack woodcutters now stealing
+both his designs and his manner of cutting, and working at a far lower
+rate than he could afford, he found that the market for his higher
+priced work had almost entirely disappeared. He still received
+occasional commissions, among others the title page to a translation of
+Suetonius’ <i>Lives of the Twelve Caesars</i>, printed by Piacentini in
+Venice in 1738. His splendid design, which shows considerable burin
+work, is at odds with the crudity of the remainder of the book. Inferior
+hands reproduced in woodcut outline Hubert Goltzius’ medallion portraits
+of Roman emperors, originally executed in chiaroscuro (see <a href =
+"#page22">p. 22</a>). Stimulated, no doubt, by the combination of
+chiaroscuro and antiquity, Jackson produced a portrait of Julius Caesar
+in four tones of brown after Egidius Sadeler’s engraving of a
+subsequently lost painting attributed to Titian. This was not the only
+time Jackson translated a line engraving and added chiaroscuro modeling
+of his own. He did not make line-for-line copies. Jackson was interested
+in broad effects even when leaning heavily on the delicate linear
+conventions of line engraving. The lines, therefore, are firm and
+<span class = "pagenum">30</span>
+<a name = "page30" id = "page30"> </a>
+<!-- png 042 -->
+widely spaced, like photographically enlarged details of copper-plate
+work. Apparently Jackson felt that the addition of one or two tones from
+wood blocks would supply the intermediate tints and at the same time
+would prevent the line system from becoming obtrusive.</p>
+
+<p>The decided influence of line engraving was probably the result of
+his association in 1731 with G.&nbsp;A.&nbsp;Faldoni in Venice.
+Influenced by Claude Mellan, this engraver made use of swelling parallel
+lines to create tonal gradations. Jackson had first become interested in
+this technical method through Ecman’s woodcuts after Callot, and once
+Faldoni had strengthened the attraction he found kindred influences in
+the engravings of Villamena and Alberti, particularly the former, from
+whom he also acquired design ideas he later put to use in his
+wallpapers. Jackson’s discovery that he could to some extent use
+copper-plate techniques was not a reversion to the style of the Parisian
+group of Le Clerc copyists. Jackson used the line system as a means for
+creating forms in conjunction with tones; the Parisian woodcutters used
+it to imitate the delicate quality of line engraving. He had a formal
+aesthetic end in view; their purpose was to render realistic details in
+a decorative framework.</p>
+
+<p>With opportunities for book illustration gone, Jackson was in a
+difficult position. His novel chiaroscuro experiments had consumed
+valuable time and had lost him his standing as a steady worker for
+printers. Near destitution and scouting around for fresh applications of
+the woodcut, he decided to make prints for wallpaper on his new press.
+It was a logical step for Jackson, not only because he knew something of
+the process but also because he could make use of the chiaroscuro blocks
+already prepared. Late in 1737 or early in 1738 he had his first samples
+ready and sent them to Robert Dunbar in London, together with his
+conditions for carrying on the trade in Venice. Negotiations dragged,
+and Dunbar died before they could come to terms, but the idea of using
+his skill and his machine for turning out wallpaper continued to occupy
+his mind as a possibility. But, for the time, the undertaking had to be
+laid aside while Jackson looked for more immediate means of
+employment.</p>
+
+<p>At this juncture Joseph Smith befriended him. A&nbsp;merchant of long
+standing in Venice, who became the British consul there in 1745, Smith
+was a bibliophile,
+<span class = "pagenum">31</span>
+<a name = "page31" id = "page31"> </a>
+<!-- png 043 -->
+gem collector, and connoisseur of the arts. In spite of Walpole’s
+sneering reference to him as “the merchant of Venice,” it must be said
+that he was expert in his fields of interest. He had excellent taste.
+His fine collection of books was purchased by George III in 1765, and
+the small Rembrandt <i>Descent from the Cross</i> once in his possession
+is now in the National Gallery in London.</p>
+
+<p>From Smith’s bronze statuette of Neptune, by Giovanni da Bologna,
+Jackson produced a chiaroscuro print in four blocks, in imitation, he
+asserted, of the prints of Andrea Andreani.<a class = "tag" name =
+"tag28" id = "tag28" href = "#note28">28</a> In suggesting the influence
+of this master, Jackson did not refer to his technique or style but to
+his subject: in 1584-1585 Andreani had produced a chiaroscuro series
+after other statues by Giovanni da Bologna (B.&nbsp;XII, VI, 1-4).</p>
+
+<p>The next work in Smith’s collection to be reproduced in chiaroscuro
+was Rembrandt’s <i>Descent from the Cross</i>. Jackson was evidently
+well satisfied with the results, and with good reason. It is an
+extremely effective print, with pale yellow lights and transparent
+shadows. The drawing is remarkable in its feeling for the Rembrandtesque
+style. The sky and other parts show English white-line burin work of the
+type found in Mattaire’s <i>Latin Classics</i> and Croxall’s <i>Aesop’s
+Fables</i>. The <i>Enquiry</i> says (p. 45):</p>
+
+<p class = "quote">
+As this Painting was extremely favourable for this sort of Printing, he
+endeavoured to display all his Art in this Performance, and the Drawing
+of <i>Rembrandt’s</i> Stile is intirely preserved in this Print; it is
+dedicated to Mr. <i>Smith</i>, who generously gave the Prints to all
+Gentlemen who came to <i>Venice</i> at that time in order to recommend
+the Talents of a Man whose Industry might please the curious, and at
+least be of some Use to procure him Encouragement to proceed in other
+Works of that Kind.</p>
+
+<p>Encouragement soon came. Smith interested two of his friends, Charles
+Frederick and Smart Lethieullier, and the three proposed in 1739 the
+undertaking of a grand project in chiaroscuro, the reproduction of 17
+huge paintings by Venetian masters. This was to be financed by
+subscription, says the <i>Enquiry</i> (p. 46):</p>
+
+<span class = "pagenum">32</span>
+<a name = "page32" id = "page32"> </a>
+<!-- png 044 -->
+
+<p class = "quote">
+the Proposals in <i>French</i>, and the Conditions expressed therein,
+were drawn up as they thought proper, without consulting the
+Difficulties that must attend an Enterprize that required some years to
+accomplish.</p>
+
+<p>Their own subscriptions were no doubt generous but Jackson found that
+his total income from this form of financing, together with possible
+future sales, would hardly cover his expenses. Other hazards made his
+situation even worse. War broke out in Europe before he was halfway
+through, and many English gentlemen, his potential subscribers, left the
+country. This exodus meant financial disaster, but Jackson kept at his
+task. He should, he said, have gone to England for his own best
+interests but felt that he couldn’t disappoint his distinguished
+patrons.</p>
+
+<p>The first print completed was after Titian’s <i>St. Peter Martyr</i>
+at the Dominican Church of Sts. Giovanni and Paolo. In coloring it is
+similar to the Rembrandt print, with gray-green sky, yellow lights, and
+cool brown shadows. While attractive and forceful, it is not as
+effective as the Rembrandt because Titian, with his greater range of
+color, presented a more complex problem. Most of the prints thereafter
+leaned to monochromes in either browns or greens. The <i>St. Peter</i>
+was finished in 1739 and in the same year five more prints were brought
+to completion.</p>
+
+<p>In 1740 he produced the three sheets which made up Tintoretto’s
+<i>Crucifixion</i> in the Scuola di San Rocco.<a class = "tag" name =
+"tag29" id = "tag29" href = "#note29">29</a> These were intended to be
+joined, if desired, to form one long print measuring about 22 × 50
+inches.</p>
+
+<p>Of the ten remaining subjects, the last, Jacopo Bassano’s <i>Dives
+and Lazarus</i>, was finished at the end of 1743, and the set of 24
+plates (some paintings, as noted, were reproduced in three sheets and
+some in two) was published as a bound volume by J.&nbsp;B.&nbsp;Pasquali
+in Venice, 1745, under the title <i>Titiani Vecelii, Pauli Caliarii,
+Jacobi Robusti et Jacobi de Ponte; opera selectiora a Joanne Baptista
+Jackson, Anglo, ligno coelata et coloribus adumbrata</i>.</p>
+
+<span class = "pagenum">33</span>
+<a name = "page33" id = "page33"> </a>
+<!-- png 045 -->
+<p>The Venetian prints were not merely an extension of chiaroscuro, they
+represented a daring effort to go beyond line engraving for reproducing
+paintings. Justification for this attempt is given in the <i>Essay</i>
+(p.&nbsp;6):</p>
+
+<p class = "quote">
+... and though those delicate Finishings, and minute Strokes, which make
+up great Part of the Merit of engraving on Copper, are not to be found
+in those cut on Wood in <i>Chiaro Oscuro</i>; yet there is a masterly
+and free Drawing, a&nbsp;boldness of Engraving and Relief, which pleases
+a true Taste more than all the little Exactness found in the Engravings
+on Copper Plates ... and indeed has an Effect which the best Judges very
+often prefer to any Prints from Engravings, done with all that
+Exactness, minute Strokes of the Graver, and Neatness of Work, which is
+sure to captivate the Minds of those whose Taste is formed upon the
+little Considerations of delicately handling the Tools, and not upon the
+Freedom, Life and Spirit of the separate Figures, and indeed the whole
+Composition.</p>
+
+<p>A novel device, embossing, was employed to give added strength to the
+prints. This development had been foreshadowed by earlier prints and
+pages of text which showed a slight indentation where the dampened paper
+received the impression. Embossing had probably first been used
+systematically by Elisha Kirkall in 1722-24, and by Arthur Pond in his
+chiaroscuros, made in 1732-36 in conjunction with George Knapton, after
+drawings by old masters. Jackson admired Pond’s work even though it
+combined etched outlines with two tone blocks printed from wood.<a class
+= "tag" name = "tag30" id = "tag30" href = "#note30">30</a> Pond’s
+embossing was delicate and applied sparely only in certain forms, such
+as ruined columns, but Jackson’s sunken areas were heavier and franker,
+consciously intended to give an all-over effect. Since the paper could
+not be pressed out without weakening the embossing, it often took on the
+scarred and buckled look that characterizes the Venetian
+chiaroscuros.</p>
+
+<p>The set had occupied him for 4½ years, during which he had planned,
+cut, and proofed 94 blocks.</p>
+
+<p class = "quote">
+No sooner was that ended, and a little Breathing required after that
+immense Fatigue, in the Year 1744 he attempted to print in Colours, and
+published six Landskips in Imitation of Painting in Acquarello.</p>
+
+<span class = "pagenum">34</span>
+<a name = "page34" id = "page34"> </a>
+<!-- png 046 -->
+
+<p class = "illustration">
+<img src = "images/pic34.png" width = "388" height = "518"
+alt = "see caption">
+</p>
+
+<p class = "caption">
+Title page for <i>Gajo Suetonio tranquillo, le vite de’dodici
+Cesari</i>, Piacentini, Venice, 1738.</p>
+
+<span class = "pagenum">35</span>
+<a name = "page35" id = "page35"> </a>
+<!-- png 047 -->
+<p>This new set, dedicated to Robert d’Arcy, British Ambassador to the
+Republic of Venice, was based on gouache paintings by Marco Ricci,
+probably done on goatskin or leather in his usual manner. For Jackson to
+make these color prints was a logical step, since his work had tended
+toward the full chromatic range even in the chiaroscuros, which
+“adumbrated” color. His new prints were all color&mdash;clear,
+sensitive, and tonally just. It is not surprising that he seized upon
+Ricci’s opaque watercolors. The paintings of the Venetian masters had
+darkened in ill-lit churches, the shadows had become murky, there were
+too many figures. But the Ricci paintings were small and clearly
+patterned, the color sparkled.</p>
+
+<p>The original gouaches have not been located, but from other examples
+in the same manner, in Buckingham Palace and in the Uffizi, it is plain
+that Jackson took certain liberties. Ricci’s rather sharp colors were
+considerably modified and mellowed when they weren’t changed entirely:
+witness the two sets in different harmonies in the British Museum. Peter
+A.&nbsp;Wick (1955) believes it most likely that Jackson did not copy
+specific paintings, and suggests that details from Ricci’s etchings and
+gouaches were combined and freely amended to create Ricci-like
+designs.</p>
+
+<p>Having determined his color scheme Jackson cut seven to ten blocks,
+each designed to bear an individual color which was to combine with
+others when necessary to form new colors. No outline block was used. To
+obtain variations from light to dark in each pigment Jackson scraped
+down the blocks with a knife; he thus lowered the surfaces slightly and
+created porous textures which would introduce the white paper or the
+underlying color. Examination of the prints clearly shows granular
+textures in the light areas. Scraping to lighten impressions was a
+common procedure in black-and-white printmaking, and was described by
+both Papillon and Bewick. In addition Jackson no doubt used underlays,
+that is, small pieces of paper pasted in layers of diminishing size on
+the backs of the blocks where the color was most intense. The pressure
+was therefore greatest in the deepest notes and lightest in the scraped
+parts. The copper plate press enabled Jackson to get good register
+without making marks on the blocks. The paper was dampened and fastened
+to the chase at one end. After each impression the next inked block was
+slid into the chase and printed wet into wet. Problems of register were
+eliminated because the sheets were held in place at all times, the
+blocks fitting the same form. No doubt the paper was sprinkled with
+water on the reverse side after
+<span class = "pagenum">36</span>
+<a name = "page36" id = "page36"> </a>
+<!-- png 048 -->
+each impression to eliminate shrinking and to keep it soft for printing.
+This method would explain Jackson’s transparent effects.</p>
+
+<p>Although the Ricci prints were certainly the most ambitious and
+complexly planned prints of the century, the cutting is crisp and
+decisive and the effect fresh and unlabored. As in the Venetian set
+embossing is consciously applied. Most likely Jackson impressed the
+finished prints, specially redampened for the purpose, with one or two
+of the uninked blocks. Jackson interpreted Ricci’s qualities with great
+spirit, and in doing so he liberated the color woodcut from its old
+conventions. The “true”-color prints he produced in the medium preceded
+the Japanese, if not the Chinese.<a class = "tag" name = "tag31" id =
+"tag31" href = "#note31">31</a> In Japan, it must be remembered, simple
+color printing in rose and green supplanted hand coloring in about 1741,
+and rudimentary polychrome prints can be dated as early as 1745, but, as
+Binyon<a class = "tag" name = "tag32" id = "tag32" href =
+"#note32">32</a> puts it, “it was not until 1764 that the first rather
+tentative <i>nishiki-ye</i>, or complete colour-prints were produced in
+Yedo, and the long reign of the Primitives came to an end.”</p>
+
+<p>In making his Ricci prints Jackson sought a method of color printing
+that would overcome the deficiencies of Jacob Christoph Le Blon’s
+three-color mezzotint process. Le Blon, a&nbsp;Frenchman born in
+Germany, had begun experimenting with color printing as early as 1705.
+His idea was to split the chromatic components of a picture into three
+basic hues&mdash;blue, red, and yellow&mdash;in gradations of intensity
+so that varying amounts of color, each on a separate copper plate, could
+be printed in superimposition to reconstitute the original picture. This
+was based upon a simplification of Newton’s seven primaries. Later, Le
+Blon added a fourth, black plate. Incredibly, this is the principle of
+modern commercial color printing, the only difference being that Le Blon
+did not have a camera, color filters, and the halftone screen at his
+disposal and had to make the separations by hand. Le Blon came to London
+in 1719, produced an enormous number of color prints, published his
+<i>Coloritto, or the Harmony of Colouring in Painting</i> in a very
+small edition about 1722 (it is undated), and shortly thereafter failed
+disastrously. About 1733 he returned to Paris, where he attracted a few
+followers. Most of his prints have disappeared, only about fifty being
+known at present.</p>
+
+<span class = "pagenum">39</span>
+<a name = "page39" id = "page39"> </a>
+<!-- png 051 -->
+<p>The idea of full-color printing, then, was in the air, although
+later, in the <i>Enquiry</i>, Jackson took pains to state that he had
+not been following in the footsteps of the Frenchman, who, he claimed,
+had made serious mistakes.</p>
+
+<p class = "quote">
+The Curious may think that this Tentamine was taken from the celebrated
+Mr. <i>le Blond</i>; I&nbsp;must here take the Liberty to explain the
+Difference.... Numbers are convinced already, that the printing
+Copper-plates done with <i>Fumo</i> or <i>Mezzotinto</i>, are the most
+subject to wear out the soonest of any sort of Engraving on that Metal.
+Had this one Article been properly considered, <i>le Blond</i>, must
+have seen the impossibility of printing any Quantity from his repeated
+Impressions of Blue, Red, and Yellow Plates, so as to produce only
+Twenty of these printed Pictures to be alike. This is obvious to every
+one who has any Knowledge, or has seen the cleaning of Copper-plates
+after the Colour was laid on; the delicate finishing of the Flesh must
+infallibly wear out every time the Plate is cleaned, and all the tender
+light Shadowing of any Colour must soon become white in proportion as
+the Plate wears. The Nature of Impression being overlooked at first, was
+the principal Cause that Undertaking came to nothing, notwithstanding
+the immense Expence the Proprietors were at to have a few imperfect
+Proofs at best, since it is evident they could be no other. The new
+invented Method of printing in Colours by Mr. <i>Jackson</i> is under no
+Apprehension of being wore out so soon.... Whatever has been done by our
+<i>English</i> Artist, was all printed with Wood Blocks with a strong
+Relievo, and in Substance sufficient to draw off almost any number that
+may be required.</p>
+
+<p>What Jackson neglected to mention was the difficulty of repeating
+transparent color effects with large planks of wood. Few existing
+impressions match each other and some prints are off register. What
+saved him was his fine color sense, his brilliance as a woodcutter, and
+his disinclination to make literal color reproductions.</p>
+
+<p>The work that Jackson left behind became a part of the cultural
+heritage of Venice, valued on its own account as well as for its
+connection with the city. Zanetti<a class = "tag" name = "tag33" id =
+"tag33" href = "#note33">33</a> describes the Venetian set and
+Zanotto,<a class = "tag" name = "tag34" id = "tag34" href =
+"#note34">34</a> in his <i>Guida</i> of 1856, urges a visit to the
+Chiesa Abaziale della Misericordia, which evidently had on permanent
+exhibition a “perfectly unique collection of woodcuts in various colors
+by Jackson, quite unmatched.”</p>
+
+<span class = "pagenum">40</span>
+<a name = "page40" id = "page40"> </a>
+<!-- png 052 -->
+<p>Gallo<a class = "tag" name = "tag35" id = "tag35" href =
+"#note35">35</a> 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.</p>
+
+
+<span class = "pagenum">[37]</span>
+<a name = "page37" id = "page37"> </a>
+<!-- png 049 -->
+
+<a name = "pic37" id = "pic37">&nbsp;</a>
+<p class = "illustration">
+<img src = "images/pic37.png" width = "454" height = "617"
+alt = "see caption"></p>
+
+<p class = "caption">
+Trial proof of the key block of center sheet of <i>The Crucifixion</i>,
+after Tintoretto. National Gallery of Art (Rosenwald Collection).</p>
+
+<span class = "pagenum">[38]</span>
+<a name = "page38" id = "page38"> </a>
+<!-- png 050 -->
+
+<a name = "pic38" id = "pic38">&nbsp;</a>
+<p class = "illustration">
+<img src = "images/pic38.png" width = "426" height = "617"
+alt = "see caption"></p>
+
+<p class = "caption">
+<span class = "smallcaps">Trial proof</span> of the key block of
+<i>Christ on the Mount of Olives</i>, after Bassano. National Gallery of
+Art (Rosenwald Collection).</p>
+
+
+<span class = "pagenum"><i>40</i></span>
+<h4 class = "ital"><a name = "wallpaper" id = "wallpaper">
+England Again: The Wallpaper Venture</a></h4>
+
+<p><span class = "firstword">Jackson</span> was married in
+Venice&mdash;whether to an Italian we do not know&mdash;and when he left
+the city in 1745 to return to England he took a family along. He
+mentions “an impoverish’d Family” in the <i>Essay</i>, but beyond this
+we know nothing of his personal life.</p>
+
+<p>As soon as he arrived in England he was invited to work in a calico
+establishment, where he remained about six years. But making drawings to
+be printed on cloth failed to give him the scope he required. At the
+back of his mind was the passion to work with woodblocks in color. This
+led him to take a bold and hazardous step&mdash;to leave his position
+and attempt, obviously with little capital, the manufacture of
+wallpaper, not to please an established taste but to educate the public
+to a new type of product.</p>
+
+<p>Wallpaper had come into popular use in England in the late 17th
+century, having been obtained from China by the East India Company.
+These hand-painted wall hangings, imported at great cost and in small
+quantities, were correspondingly expensive. The subjects were gay and
+fanciful&mdash;birds, fans, Chinese kiosks, pagodas, and flowers. Highly
+desired because they offered an escape from the heavy grandeur of the
+Baroque style, they were subsequently imitated by assembly-line methods.
+They fitted naturally into the developing <i>rocaille</i> style
+(corrupted into Rococo outside of France), and it is not surprising that
+they were also produced extensively in Paris. In England these
+imitations, which formed a substitute for expensive velvet and damask
+hangings, completely dominated the wallpaper field.</p>
+
+<span class = "pagenum">41</span>
+<a name = "page41" id = "page41"> </a>
+<!-- png 053 -->
+<p>The first notice of Jackson’s venture appeared in the <i>Gentleman’s
+Magazine</i> of February 1752.<a class = "tag" name = "tag36" id =
+"tag36" href = "#note36">36</a> A&nbsp;letter signed “Y.&nbsp;D.”
+praised the editor “Sylvanus Urban” for attempting to revive the art of
+cutting on wood. It mentioned that this art was in decline for more than
+a century, but noted that&mdash;</p>
+
+<p class = "quote">
+Two of our countrymen, <i>E.&nbsp;Kirkall</i> and
+<i>J.&nbsp;B.&nbsp;Jackson</i>, ought to be exempted from this general
+charge; the former having a few years ago introduced the <i>Chiaro
+Oscuro</i> of <i>Hugo de Carpi</i> into England, though he met with no
+extraordinary encouragement for his ingenuity; and the art had died with
+him had not the latter attempted to revive it, but with less
+encouragement than his predecessor. <i>Mr. Jackson</i>, however, has
+lately invented a new method of printing paper hangings from blocks,
+which is very ornamental, and exceeds the common method of
+paper-staining (as it is termed) by the delicacy of his drawings, the
+novelty of his designs, and the masterly arrangement of his principal
+figures.</p>
+
+<p>The next notice appeared in the <i>London Evening Post</i> of April
+30-May 2, 1752:</p>
+
+<p class = "quote">
+New invented <span class = "smallcaps">Paper Hangings</span>, printed in
+Oyl, which prevents the fading or changing of the Colours; as also
+Landscapes printed in Colours, by J.&nbsp;B.&nbsp;Jackson, Reviver of
+the Art of printing in Chiaro Oscuro, are to be had at Dunbar’s
+Warehouse in Aldermanbury, London; or Mr. Gibson’s, Bookseller, opposite
+the St. Alban’s Tavern in Charles-street near St. James’s-Square, and no
+where else.</p>
+
+<p>Several months afterwards, in the September 1752 issue of
+<i>Gentleman’s Magazine</i>, publication of the <i>Enquiry into the
+Origins of Printing in Europe</i> was announced.</p>
+
+<p>The <i>Enquiry</i> is an odd book. It combines rewritten versions of
+two Jackson manuscripts, a&nbsp;study of the origins of printing in
+Europe and an autobiographical journal covering, we suppose, the years
+from about 1725 on. The writer, in his introduction, says that he had
+been attracted by the two notices mentioned and went to see Jackson,
+whom he already knew by reputation. As a “Lover of Art” he considered it
+his duty to acquaint the public with Jackson’s ideas concerning the
+origins of printing. These ideas, he felt, were an important
+contribution. After devoting half the little book to a rambling account
+of this subject, including a short history of woodcutting from Dürer
+onward, the author suddenly shifts to the journal. It is regrettable
+that he condensed it because we do not know what was
+<span class = "pagenum">42</span>
+<a name = "page42" id = "page42"> </a>
+<!-- png 054 -->
+left out. It is possible that much autobiographical information was
+excluded, as well as a picture of woodcutters and woodcutting of the
+time. The book concludes with the statement that Jackson intended to
+print in October of that year (1752) a&nbsp;paper hanging in two sheets
+after an original painting “by <i>F.&nbsp;Simonnetta</i> of
+<i>Parma</i>”<a class = "tag" name = "tag37" id = "tag37" href =
+"#note37">37</a> representing the battle fought near that city in
+1738.</p>
+
+<p>This print was to be in full color, 3 feet 6 inches long by 2 feet
+high, and was to serve as a specimen for a series of four of the same
+size, the others being “History, Pictures and Landscapes.” They were to
+be done by subscription:</p>
+
+<p class = "quote">
+No Money will be required of the Subscribers till the Prints are
+finished, and only at the Delivery. It is to be hoped the Curious and
+the Public will encourage this Undertaking, by a Man who has spent the
+greatest Part of his Life in searching after and improving an Art,
+believed by all to be lost, and has restored it to the Condition we now
+see it in his Works.</p>
+
+<p>The only known copy of this battle picture, made from about seven
+blocks, is in the Print Room of the British Museum. It is a magnificent
+piece. Probably nothing with this breadth of handling had ever been done
+in woodcut before. The color is grave and beautifully harmonized,
+although the paper has deteriorated and the colors have darkened
+somewhat. The blocks were cut with ardor, almost fury; everything is
+brought to life with masterly assurance. Martin Hardie, who made the
+only previous comment on this print, which he could only surmise was
+Jackson’s, says:<a class = "tag" name = "tag38" id = "tag38" href =
+"#note38">38</a> “Jackson’s supreme achievement is a large battle scene,
+with wonderful masses of rich colour superbly blended, reminiscent of
+Velasquez in breadth, in dignity, and in glory of tone.”</p>
+
+<p>There were competitors in London, among them Matthias Darley, who
+produced papers in the Chinese style; Thomas Bromwich, who was
+patronized by Walpole; and Robert Dunbar, Jr., of Aldermanbury, who in
+addition sold Jackson’s papers. They lacked both Jackson’s gifts and his
+unreasonable standards but they produced more generally acceptable
+wallpaper with greater facility. These competitors did not work in oil
+colors, like Jackson. Transparent tints were too difficult to control,
+especially when applied with inking balls (composition rollers
+<span class = "pagenum">43</span>
+<a name = "page43" id = "page43"> </a>
+<!-- png 055 -->
+did not come into use until well after 1800), and effects were too
+heavy. They used distemper&mdash;powdered color mixed with glue and
+water, with chalk added to give body. This was sometimes applied with
+woodblock or stencil but most often it was simply painted in by hand
+over a blockprinted outline. Often the painting was done directly on the
+wall after the paper was hung. These wallpapers were weak when examined
+critically, but nobody worried as long as a light bright pastel effect
+was obtained. Jackson’s vigorous drawing and woodcutting were out of
+place in this field. They were, like his tonal exactitude that made
+holes in the wall, a&nbsp;distraction and an offense against interior
+decoration.</p>
+
+<p>Jackson’s business, therefore, did not prosper. In a last effort to
+stir up public interest he published, in 1754, his well-known little
+book, <i>An Essay on the Invention of Engraving and Printing in Chiaro
+Oscuro</i>, illustrated with eight prints in “proper colours.” It sold
+for two shillings and sixpence. The style was rather florid but his
+arguments were presented with such vigor that it is easy to see why
+critics have found it difficult to refrain from quoting at length. The
+main body of text is only eight pages long, with an additional eight
+pages of subsidiary descriptive material attached to the pictures.</p>
+
+<p>On the title page appeared his favorite passage from Pascal, used
+previously on the title page of the <i>Enquiry</i>: “Ceux qui sont
+capables d’inventer sont rares: ceux qui n’inventent point sont en plus
+grand nombre, et par conséquent les plus forts.” The first few pages of
+the <i>Essay</i> enlarge on this theme:</p>
+
+<p class = "quote">
+It has been too generally the Fate of those who set themselves to the
+Inventing any Thing that requires Talents in the Discovery, to apply all
+their Faculties, exhaust their Fortune, and waste their whole Time in
+bringing that to Perfection, which when obtained, Age, Death, or Want of
+sufficient Supplies, obliges them to relinquish, and to yield all the
+Advantages which their Hopes had flattered them with, and which had
+supported their Spirits during their Fatigues and Difficulties, to
+others; and thus leave behind them an impoverish’d Family incapable to
+carry on their Parent’s Design, and too often complaining of the
+projecting Genius of that Father who has ruin’d them, tho’ he has
+enriched the Nation to which he belonged, and to which of Consequence he
+was a laudable Benefactor.</p>
+
+<p>He proceeds in this bitter vein for a time, then brings into the open
+the main purpose of the book:</p>
+
+<span class = "pagenum">44</span>
+<a name = "page44" id = "page44"> </a>
+<!-- png 056 -->
+
+<p class = "quote">
+Another Reason perhaps is, that the Artist being totally engaged in the
+Pursuit of his Discovery, has but little Time to apply to the Lovers and
+Encouragers of Art for their Patronage, Protection, and Supplies
+necessary for the carrying on such a Design, or he has not Powers to set
+the Advantage which would result from it in a true Light; nor
+communicate in Words what he clearly conceived in Idea: for certainly
+there are Men enough, who from the mere Desire of increasing their
+Wealth, would give him that Assistance, which, like the artificial Heat
+of a Greenhouse, would bring that Art to a Ripeness, which would
+otherwise languish and die under the Coldness of the first Designer, and
+which in this Union of Riches and Invention would yield mutual Advantage
+to both.</p>
+
+<p class = "quote">
+There are besides this amongst the Great, without Doubt, many who would
+gladly lend their Patronage to rising Arts, if they knew their
+Authors....</p>
+
+<p>He gives as example the Duke of Cumberland, who had just sponsored a
+tapestry plant at Fulham, and follows with an outline of the honorable
+traditions of the woodcut, pointing out that Dürer, Titian, Salviati,
+Campagnola, and other painters drew their work on woodblocks to be cut
+by woodcutters, and adds that “even <i>Andrea Vincentino</i> did not
+think it in the least a Dishonour, though a Painter, to grave on Wood
+the Landscapes of <i>Titian</i>.” He builds up to the statement that
+Raphael and Parmigianino drew on woodblocks to be cut in chiaroscuro by
+Ugo da Carpi.</p>
+
+<p class = "quote">
+After having said all this, it may seem highly improper to give to Mr.
+<i>Jackson</i> [he speaks of himself throughout in the third person] the
+Merit of inventing this Art; but let me be permitted to say, that an Art
+recovered is little less than an Art invented. The Works of the former
+Artists remain indeed; but the Manner in which they were done, is
+entirely lost: the inventing then the Manner is really due to this
+latter Undertaker, since no Writings, or other Remains, are to be found
+by which the Method of former Artists can be discover’d, or in what
+Manner they executed their works; nor, in Truth, has the <i>Italian</i>
+Method since the Beginning of the 16th Century been attempted by any one
+except Mr. <i>Jackson</i>.</p>
+
+<p>We cannot help concluding that Jackson was falsifying here. Taking
+advantage of the public’s ignorance, he was puffing up his historical
+importance in order to sell wallpaper. If the <i>cognoscenti</i>
+complained that he had buried the chiaroscurists after da Carpi, he
+always had the explanation that others did not work in the Italian
+style, which he neglected to describe. Jackson knew what he was doing;
+he was not as ignorant of art history as Hardie and Burch have surmised,
+although
+<span class = "pagenum">45</span>
+<a name = "page45" id = "page45"> </a>
+<!-- png 057 -->
+it is true that he was not always certain as to dates, since he believed
+Andreani worked as a contemporary of da Carpi. In the <i>Enquiry</i>,
+published only two years earlier, he had shown familiarity with the
+prints of Goltzius, Coriolano, Businck, Nicolas and Vincent Le Sueur,
+Moretti, and Zanetti, all of whom had worked to some extent in the
+Italian manner.</p>
+
+<p>Some writers have reacted strongly to this paragraph. Losing their
+sense of proportion, they have been led to the conclusion that Jackson
+was little better than a charlatan and that his work as a whole
+reflected his low ethics. In some instances his culpability has been
+magnified: Bénézit has even charged him with claiming to have invented
+color printing.</p>
+
+<p>The worst result of Jackson’s insistence on re-inventing the Italian
+manner was that it made a major issue of what was at best a minor honor.
+It minimized such technical contributions as the following, which did
+not follow traditional recipes:</p>
+
+<p class = "quote">
+... Mr. <i>Jackson</i> has invented ten positive Tints in <i>Chiaro
+Oscuro</i>; whereas Hugo di Carpi knew but four; all of which can be
+taken off by four Impressions only.</p>
+
+<p>This technical system was used for the Venetian chiaroscuros, the
+portrait of Algernon Sidney after Justus Verus, and others. He did not
+mention that he needed a greater range of tones because he was working
+after oil paintings, not drawings. The introduction of full color from a
+series of blocks to translate water colors is also mentioned in the
+<i>Essay</i>, but with no greater emphasis than in the <i>Enquiry</i>.
+Since his wallpaper was to be done in color as well as in chiaroscuro,
+and since the <i>Essay</i> included four plates in color, it is
+astonishing that Jackson failed to make stronger claims for his
+originality in this development.</p>
+
+<p>He proceeded to describe his plan to replace wallpapers in the
+Chinese style with his papers, which, he stated, would have no “...gay
+glaring Colours in broad Patches of red, green, yellow, blue &amp;c ...
+[with] no true Judgment belonging to it ... Nor are there Lions leaping
+from Bough to Bough like Cats, Houses in the Air, Clouds and Sky upon
+the Ground....”</p>
+
+<p>He proposed, instead, to use as subjects many of the famous statues
+of antiquity; the landscapes of Salvator Rosa, Claude Lorrain, Poussin,
+Berghem, Wouwerman, the views of Canaletto, Pannini&mdash;</p>
+
+<span class = "pagenum">46</span>
+<a name = "page46" id = "page46"> </a>
+<!-- png 058 -->
+
+<p class = "quote">
+Copies of the Pictures of all the best Painters of the <i>Italian</i>,
+<i>French</i> and <i>Flemish</i> Schools, the fine sculptur’d Vases of
+the Ancients which are now remaining; in short, every Bird that flies,
+every Figure that moves upon the Surface of the Earth from the Insect to
+the human; and every Vegetable that springs from the Ground, whatever is
+of Art or Nature, may be introduced into this Design of fitting up and
+furnishing Rooms, with all the Truth of Drawing, Light, and Shadow, and
+great Perfection of Colouring.</p>
+
+<p>This vast gallery of art and nature was to be printed in “Colours
+softening into each other, with Harmony and Repose....”</p>
+
+<p>Even if we feel that Jackson was building up his project to attract
+attention, or that he was intoxicated by the idea of creating art on
+such a grand scale, there is still something wrong in his conceiving it
+in terms of wallpaper. What is certain is that Jackson was desperately
+anxious to create color prints. In the absence of art patrons, wallpaper
+was his only excuse for continuing as an artist. As a business venture
+it was absurd, even tragic. There is good reason to believe that Jackson
+lacked capital and rented the quarters for his business: his name does
+not appear in the Poor Rate Book of that period in the Borough of
+Battersea.</p>
+
+<p>From a certain standpoint, this excursion by Jackson into wallpapers
+featuring Roman ruins and classical antiquity appeared to come at an
+appropriate time. Marco Ricci’s paintings as well as the somewhat later
+work of Pannini and Zuccarelli, and Guardi’s early ruin pieces, were
+already known. Ricci had visited England from 1710 to 1716. Zuccarelli
+had come twice, once in 1742 and again in 1751 to stay until 1773,
+becoming a foundation member of the Royal Academy; his classical
+landscapes with their glib charm had a comparatively good reception. But
+the strongest influence was undoubtedly that of Piranesi, whose powerful
+etchings brought to life as never before the ravaged stones of Imperial
+Rome and the <i>Campagna</i>. Their effect was widespread and
+electrifying, although it was not until the 1760’s that they developed
+their full force as an influence on English architecture and furniture
+design, and came to supersede the Palladian style brought to England by
+Inigo Jones at the beginning of the 17th century.</p>
+
+<p>Jackson was too early; public taste was not yet ready for picturesque
+landscape or antique forms in wallpaper. But the style became dominant
+in the latter 18th century, particularly in England and France, and was
+also exported to America. While it is difficult to estimate the degree
+of Jackson’s influence in this development,
+<span class = "pagenum">47</span>
+<a name = "page47" id = "page47"> </a>
+<!-- png 059 -->
+we know that no scenic papers can be dated before the Ricci prints, or
+before Jackson’s wallpaper venture. Oman<a class = "tag" name = "tag39"
+id = "tag39" href = "#note39">39</a> comments:</p>
+
+<p class = "quote">
+The use of wall-paper to imitate large architectural designs dates, as
+we have seen, from the days of J.&nbsp;B.&nbsp;Jackson. During the
+remainder of the century this style was used almost exclusively for
+decoration of the halls and staircases of great houses.</p>
+
+<p>These papers covered rooms with landscape panoramas or with
+landscapes in Rococo scroll frames, relieved by decorative panels with
+busts, statuettes, and floral ornaments. As in preceding work, they were
+usually painted in opaque water colors. Most of the landscapes were
+loose transcriptions of designs by Pannini, Vernet, Lancret and other
+painters of architectural, scenic, and pastoral subjects. The treatment
+was generalized and superficial, the touch light and detached.</p>
+
+<p>In this approach to wallpaper we see the basic ideas of Jackson, but
+with more emphasis on charm and elegance. Ironically, as years passed
+and original sources grew obscure, it became the tendency to attribute
+scenic papers in great houses to Jackson.<a class = "tag" name = "tag40"
+id = "tag40" href = "#note40">40</a> If he was a failure as a pioneer in
+the field, he remained its most highly prized legend.</p>
+
+<p>The <i>Essay</i> continued with a criticism of the current taste in
+wallpaper. Jackson enlarged on the lack of discrimination of persons who
+would prefer popular papers to his.</p>
+
+<p class = "quote">
+It seems, also, as if there was great Reason to suspect wherever one
+sees such preposterous Furniture, that the Taste in Literature of that
+Person who directed it was very deficient, and that it would prefer
+<i>Tom D’Urfy</i> to <i>Shakespear</i>, <i>Sir Richard Blackmore</i> to
+<i>Milton</i>, <i>Tate</i> to <i>Homer</i>, an <i>Anagrammatist</i> to
+<i>Virgil</i>, <i>Horace</i>, or any other Writer of true Wit, either
+Ancient or Modern.</p>
+
+<p>He added that his prints, made in oil colors, would be permanent
+“whereas in that done with Water-Colours, in the common Way, Six Months
+makes a very visible Alteration in all that preposterous Glare, which
+makes its whole Merit....”</p>
+
+<p>The <i>Essay</i> has eight plates, four of ancient statues in
+chiaroscuro and four of plants, animals, and buildings, in probably six
+colors. They were hastily done and no doubt had a rather fresh charm
+when published, but unfortunately the oil in the pigments was inferior,
+and every print in the book has darkened and yellowed
+<span class = "pagenum">48</span>
+<a name = "page48" id = "page48"> </a>
+<!-- png 060 -->
+badly. The prints and neighboring pages are heavily spotted and stained.
+This book which should have been his vindication became instead an
+argument for his lack of merit, especially to those who were not
+familiar with his other work.</p>
+
+<p>We do not know how large a working force Jackson had or how many of
+the projected plates he planned to assign to helpers or to carry out
+himself. Some of the decorative borders from four blocks, blue, red,
+yellow, and gray-green, he undoubtedly made and printed himself. They
+are heavy and rather fruity in effect but are incisively drawn and cut.
+Also bearing Jackson’s stamp are some ornamental frames with fruit and
+flowers in the same full range of colors.</p>
+
+<p>An album ascribed to him, in the collection of the Victoria and
+Albert Museum, contains drawings of flowers, foliage, details of
+ornament and hand-colored designs, and a proof of the woodcut for the
+title page to the <i>Suetonius</i> of 1738. Five of the drawings are
+signed or initialed by Jackson, with dates from 1740 to 1753. The
+designs, which might have been intended for calico or wallpaper, are
+poorly done and not at all in his style. The drawings are competent but
+cannot definitely be considered his, notwithstanding the signatures,
+since we do not know Jackson’s handwriting from other sources. The most
+that can be said for this album is that it probably comes from his
+workshop.</p>
+
+<p>While producing wallpaper, Jackson still made efforts to attract
+sponsors for full editions of his earlier chiaroscuros. The <i>Woman
+Meditating</i> was dedicated to the Antiquarian Society of London.
+<i>Christ Giving the Keys to St. Peter</i>, rejected by Crozat, we
+assume, was dedicated to Thomas Hollis, whom Jackson may have met in
+Venice. And the <i>Venus and Cupid with a Bow</i> was inscribed to
+Thomas Brand, lifelong companion of Hollis who later added to his name
+the latter’s patronymic. The <i>Algernon Sidney</i> has no dedication,
+but since Hollis was a Sidney specialist and edited the first one-volume
+edition of his works in 1769, there is a strong likelihood that the
+print had some connection with this liberal gentleman. Jackson made it
+either in Venice just before he left, or in England shortly after his
+arrival.</p>
+
+<p>Robert Dunbar, Jr., who had inherited the wallpaper manufactory on
+his father’s death, went out of business late in 1754. In his possession
+was a quantity of Jackson’s papers, for which he was the main outlet.
+With this backlog of papers on hand, and no large distributor, Jackson’s
+venture collapsed. This happened
+<span class = "pagenum">49</span>
+<a name = "page49" id = "page49"> </a>
+<!-- png 061 -->
+shortly after the publication of the <i>Essay</i>, and its author was
+never to have the opportunity to carry out his grandiose plans.</p>
+
+<p>Jackson appealed to Hollis, who wrote to his former mentor, Dr. John
+Ward, professor of rhetoric at Gresham College and the head of a society
+founded by noblemen and gentlemen for the encouragement of learning:<a
+class = "tag" name = "tag41" id = "tag41" href = "#note41">41</a></p>
+
+<div class = "letter">
+<p>Dear Sir!&mdash;Do Me the Favour to accept these four prints of
+Jackson’s.&nbsp;They are no where sold, &amp; will soon be scarce. When
+You consider their Merit, I&nbsp;am confident You will lament the hard
+Fate of the ingenious Artist; who, at this Time, in his old age, &amp;
+in his own Country is unprotected unnoticed, and can difficultly support
+Himself against immediate distress &amp; Ruin.</p>
+
+<p>I am, with great Respect,</p>
+
+<p>Dear Sir!</p>
+
+<div class = "right">
+<p>Your obliged affect humble Servant</p>
+
+<p>T. Hollis</p>
+</div>
+
+<p>Bedford Street, February 10, 1755</p>
+</div>
+
+<p>We do not know the results of this appeal. In any case Jackson seems
+to have faded out as an artist. Little is known of his subsequent career
+up to the time more than twenty years later, when Bewick mentions
+meeting him in advanced age. In 1761 he made a drawing of Salisbury
+Cathedral for Edward Eaton, “bookseller at Sarum,” for a line engraving
+dedicated by Eaton to the Lord Bishop of Winchester. This large view
+included figures in the foreground in an attempt to give animation to
+the scene. Unfortunately the engraver, John Fougeron, was little more
+than an amateur. His execution was feeble and mechanical: Jackson’s
+drawing suffered so badly that its quality cannot be determined. This
+print was copied on a smaller scale in a steel engraving by
+J.&nbsp;B.&nbsp;Swaine, published by J.&nbsp;B.&nbsp;Nichols &amp; Son
+in 1843, but it was hardly an improvement.</p>
+
+<p>Bewick’s recollections of Jackson, written about forty years after
+their meeting in Newcastle, imply that Jackson stayed in that city for a
+period. The Town Clerk’s Office, however, has no record of his
+residence. The following passage from Bewick’s <i>Memoir</i> is the last
+evidence<a class = "tag" name = "tag42" id = "tag42" href =
+"#note42">42</a> bearing on Jackson:</p>
+
+<p class = "quote">
+Several impressions from duplicate or triplicate blocks, printed in this
+way, of a very large size, were also given to me, as well as a drawing
+of the press from
+<span class = "pagenum">50</span>
+<a name = "page50" id = "page50"> </a>
+<!-- png 062 -->
+which they were printed, many years ago, by Jean Baptiste Jackson, who
+had been patronised by the King of France; but, whether these prints had
+been done with the design of embellishing the walls of houses in that
+country, I&nbsp;know not. They had been taken from paintings of eminent
+old masters, and were mostly Scripture pieces. They were well drawn, and
+perhaps correctly copied from the originals, yet in my opinion none of
+them looked well. Jackson left Newcastle quite enfeebled with age, and,
+it was said, ended his days in an asylum, under the protecting care of
+Sir Gilbert Elliot, Bart., at some place on the border near the Teviot,
+or on Tweedside.</p>
+
+<p>If Bewick was correct in reporting that Jackson died while under the
+protection of Sir Gilbert Elliot, probably in a Poor Law institution, it
+is unlikely that the date could have been much later than 1777, the year
+in which Sir Gilbert died. This would place the meeting of both artists
+shortly before this time, when Bewick was in his early twenties (he was
+born in 1753). Sir Gilbert lived in Minto House, Roxburghshire,
+Scotland, but no evidence can be found for the supposition that Jackson
+died in the vicinity. No obituary has been discovered. The record of
+Jackson’s death, if it exists, probably lies in a parish register
+somewhere on the Scottish border.</p>
+
+
+<span class = "pagenum">51</span>
+<a name = "page51" id = "page51"> </a>
+<!-- png 063 -->
+
+
+<h3 class = "ital"><a name = "opinion" id = "opinion">
+Critical Opinion</a></h3>
+
+
+<p><span class = "firstword">In most</span> histories of prints it was
+considered sufficient to note that certain artists worked in woodcut
+chiaroscuro; the quality of such work was rarely discussed. But Jackson
+was an exception: something about his prints aroused critics to defense
+or attack. The cleavage is absolute, strange for one who was presumably
+a mere reproductive artist. Nothing could show more clearly the
+unsettled nature of Jackson’s standing than a sampling of these
+opinions.</p>
+
+<p>Horace Walpole in a letter, dated June 12, 1753, to Sir Horace Mann
+describing the furnishings in Strawberry Hill, commented:<a class =
+"tag" name = "tag43" id = "tag43" href = "#note43">43</a></p>
+
+<p class = "quote">
+The bow window below leads into a little parlour hung with a
+stone-colour Gothic paper and Jackson’s Venetian prints, which I could
+never endure while they pretended, infamous as they are, to be after
+Titian, &amp;c., but when I gave them this air of barbarous bas-reliefs,
+they succeeded to a miracle; it is impossible at first sight not to
+conclude that they contain the history of Attila or Tottila done about
+the very era.</p>
+
+<p>Von Heinecken<a class = "tag" name = "tag44" id = "tag44" href =
+"#note44">44</a> says they are “in the manner of Hugo da Carpi but much
+inferior in execution.” But Huber, Rost, and Martini<a class = "tag"
+name = "tag45" id = "tag45" href = "#note45">45</a> noted Jackson’s
+independent approach:</p>
+
+<p class = "quote">
+Jackson’s prints, which are certainly not without merit, are in general
+less sought after by collectors than they deserve. His style is original
+and is concerned entirely with broad effects.</p>
+
+<p>Baverel<a class = "tag" name = "tag46" id = "tag46" href =
+"#note46">46</a> also had a high opinion of Jackson’s work. Describing
+the Venetian prints, he says that Jackson “had a skillful and daring
+attack, and it is regrettable that he did not produce more work.”
+Nagler’s<a class = "tag" name = "tag47" id = "tag47" href =
+"#note47">47</a> criticism typifies the academic preconceptions of some
+writers on the subject of chiaroscuro:</p>
+
+<span class = "pagenum">52</span>
+<a name = "page52" id = "page52"> </a>
+<!-- png 064 -->
+
+<p class = "quote">
+Jackson’s works are not praiseworthy throughout in drawing, and also he
+was not thoroughly able to apply the principles of chiaroscuro
+correctly.... Yet we have several valuable prints from Jackson....</p>
+
+<p>And Chatto<a class = "tag" name = "tag48" id = "tag48" href =
+"#note48">48</a> remarks:</p>
+
+<p class = "quote">
+They are very unequal in point of merit; some of them appearing harsh
+and crude, and others flat and spiritless, when compared with similar
+products by the old Italian wood engravers.</p>
+
+<p>With this verdict W. J. Linton<a class = "tag" name = "tag49" id =
+"tag49" href = "#note49">49</a> disagrees, saying, “...Chatto underrates
+him. I&nbsp;find his works very excellent and effective. <i>The Finding
+of Moses</i> (2&nbsp;feet high by 16 inches wide) and <i>Virgin Climbing
+the Steps of the Temple</i> (after Veronese), and others, are admirable
+in every respect....” Duplessis<a class = "tag" name = "tag50" id =
+"tag50" href = "#note50">50</a> attacks the Venetian set heatedly and at
+length, yet he devotes more space to expounding Jackson’s deficiencies
+than to discussing the work of any other woodcut artist, even Dürer or
+da Carpi.</p>
+
+<p>On the evidence we have, the new conception Jackson brought to
+printmaking was not fully understood until the 20th century. Pierre
+Gusman<a class = "tag" name = "tag51" id = "tag51" href =
+"#note51">51</a> in 1916 probably first noted the technical distinction
+between Jackson’s work and earlier chiaroscuros.</p>
+
+<p class = "quote">
+He [Jackson] conceived his prints in a different way from the Italians,
+bringing in new aspects in accenting values and planes, because he did
+not reproduce drawings but interpreted paintings. The whites even show
+embossings in the paper to make the light vibrate, and a specially cut
+block is sometimes impressed to help in modeling the forms. Jackson, in
+short, very much the wood carver, combined the resources of the cameo
+with those of the chiaroscuro and produced curious works of combined
+techniques, but without equaling his predecessors, who were particularly
+remarkable for their simplicity of style and treatment.</p>
+
+<span class = "pagenum">53</span>
+<a name = "page53" id = "page53"> </a>
+<!-- png 065 -->
+<p>One year later, in 1917, Max J.&nbsp;Friedländer<a class = "tag" name
+= "tag52" id = "tag52" href = "#note52">52</a> commented that relief
+effects in block printing were not alien additions but natural
+consequences of the method. His main emphasis, we note, is on the Ricci
+prints.</p>
+
+<p class = "quote">
+A peculiarity of the color woodcut, which first was put up with as a
+characteristic of the technique but finally was enhanced and utilized
+fully as a means of expression, is the physical relief that stands out
+in thick and soft paper with the sharp pressure of die wood-blocks....
+No one has employed the relief of the woodcut so consciously and
+artfully as the Englishman John Baptist Jackson in the eighteenth
+century, who, particularly in some landscapes, created most effective
+and richly colored sheets. He has gone so far as to express forms in
+“blind-printing,” entirely without bordering lines or contrasting
+colors, merely through relief pressing.</p>
+
+<p>Anton Reichel’s important history of chiaroscuro, with its
+magnificent color plates in facsimile, appeared in 1926.<a class = "tag"
+name = "tag53" id = "tag53" href = "#note53">53</a> He says of Jackson
+that his activity in chiaroscuro was “extraordinarily rich,” that he
+created broad approximations of his subjects which made him neglect
+details, but that these were “convincingly translated into the language
+of the woodcut.”</p>
+
+<p class = "quote">
+Five heroic landscapes after M.&nbsp;Ricci represent the artistic high
+point of his work, having a distinctive richness of color not previously
+attained by any other master of chiaroscuro. Each of the prints has a
+complete harmony of colors; the single color blocks&mdash;over ten can
+be counted in each print&mdash;which show in their separate tones the
+extraordinarily cultivated taste of the artist, give the composition a
+decorative effect far from any realistic imitation of nature.... The
+relief impressed with the blocks is so strong that, going beyond all
+other prior attempts of the kind, it represents an essential factor of
+the composition through its actual light-and-shadow effects.</p>
+
+<p>Although by this time Jackson’s chiaroscuros were regarded with
+respect and his color prints were acknowledged to be of prime
+importance, some of the conservative wallpaper historians were still
+repelled by their vigor, which did not suit genteel notions of interior
+decoration. Sugden and Edmondson<a class = "tag" name = "tag54" id =
+"tag54" href = "#note54">54</a> in 1925 certainly
+<span class = "pagenum">54</span>
+<a name = "page54" id = "page54"> </a>
+<!-- png 066 -->
+failed to understand both Jackson’s work and the period in which it was
+done. They comment:</p>
+
+<p class = "quote">
+Jackson’s bold claims to originality and merit are scarcely borne out by
+anything he is known to have achieved. That he had a vogue, however,
+seems certain, for apart from his “Essay” he has come down to us as a
+historical figure. To modern tastes in art many of his productions seem
+almost monstrous, and yet they were to some extent the expression of the
+time-spirit in which they were born.</p>
+
+
+<h3 class = "ital"><a name = "postscript" id = "postscript">
+Postscript</a></h3>
+
+<p><span class = "firstword">While</span> Jackson had an influence on a
+small coterie, it did not prolong the life of the color woodcut. In
+Europe the medium did not survive his disappearance in 1755; no doubt it
+seemed to later artists intractable and lacking in nuance. The
+black-and-white woodcut, moreover, went into further decline and was
+almost entirely disregarded except for the rudest sort of work. Almost a
+century and a half were to pass before Gauguin and Munch swept aside old
+taboos and found exciting new possibilities for color in the woodcut
+process.</p>
+
+<p>The lack of interest in the color woodcut was also the result of new
+techniques in the copper-plate media, techniques that could be adapted
+to color printing. In 1756 J.&nbsp;C. François introduced the crayon
+manner, an etching process that could imitate the effects of chalk and
+crayon drawings. During the following decades numerous technical
+variations were developed, the most popular being the pastel manner, the
+stipple, and the aquatint.</p>
+
+<p>Of these methods only aquatint survived after early years of the 19th
+century. It was less limited than its companion processes and had wide
+application in rendering the effect of water-color wash. But color work
+in this medium, however attractive to a public that appreciated delicacy
+and charm, did not have mass appeal. The new audience created by the
+advancing Industrial Revolution wanted printed pictures of a less subtle
+type; they preferred imitations of sentimental<ins class = "correction"
+title = "the color Plates were printed at this point">,&nbsp;</ins>
+<span class = "pagenum">67</span>
+<a name = "page67" id = "page67"> </a>
+<!-- png 081 -->
+banal, story-telling oil paintings with a high, waxy finish. Neither
+aquatint nor other copper-plate media were suitable for these products,
+and color lithography did not receive serious attention until the late
+1830’s.&nbsp;The wood engraving, which had inherited the function of the
+woodcut and which had greater flexibility in rendering tones and
+details, became the logical vehicle for the new color picture.</p>
+
+<p>In this situation Jackson suddenly appeared as the pioneer, as the
+father of printed pictures based upon paintings in oil or water colors.
+His intention had been translation rather than imitation and he would
+have abhorred the feeble new product, but this did not concern his
+successors&mdash;they were interested only in his technical principles.
+Moreover, in their naïveté, they imagined they were improving on Jackson
+because their prints were counterfeit paintings while his were not.</p>
+
+<p>The earliest picture printers therefore, used wood engraving. Among
+them were Frederich W.&nbsp;Gubitz of Berlin, who began the revival
+about 1815; William Savage<a class = "tag" name = "tag55" id = "tag55"
+href = "#note55">55</a> of London, a&nbsp;printer who published a book
+describing his project in 1822; and George Baxter of London, whose work
+dates from about 1830. All started with chiaroscuro and moved to full
+color from a large number of wood blocks, although in 1836 Baxter began
+printing his transparent oil colors over a base of steel engraving
+reinforced with aquatint. Only Baxter persevered and was rewarded by
+sensational popular success. His glassy and trivial prints with their
+high sweet finish enjoyed a vogue among collectors that lasted into the
+20th century. In about 1860, however, he was driven from the market by
+the rise of a cheaper medium, chromolithography, which was responsible
+in the next few decades for a universal outpouring of popular bathos.
+This was picture printing in color geared for the mass audience.</p>
+
+<p>It may seem an anticlimax to trace the color woodcut from Jackson to
+Baxter, and finally to chromolithography, but it is not irrelevant.
+Although spurned by the better artists, color had too popular an appeal
+to be ignored. It was inescapable that Jackson’s successful technical
+procedures should finally be adopted and corrupted in the area of
+commerce.</p>
+
+<p>Woodcut artists up to Jackson, with few exceptions, had used color
+for one major purpose, to reproduce drawings in line and tone. By
+enlarging the conception of the color woodcut Jackson brought the
+primitive chiaroscuro phase of its
+<span class = "pagenum">68</span>
+<a name = "page68" id = "page68"> </a>
+<!-- png 082 -->
+history to an end. After him, the chiaroscuro could not be practiced
+again except as an archaism.<a class = "tag" name = "tag56" id = "tag56"
+href = "#note56">56</a> The way was open for the modern woodcut,
+although it was a long time in coming.</p>
+
+<p>The range of Jackson’s work in tone and color exceeded that of all
+previous woodcutters and can be divided as follows:
+(1)&nbsp;chiaroscuros&mdash;after drawings, after paintings, after his
+own pen and ink drawings after paintings, interpretations of engravings
+and etchings, and interpretations of sculpture; and (2)&nbsp;full
+color&mdash;after paintings in gouache and after his own water colors.
+In addition he treated pictorial subjects in flat color areas without a
+key or outline block, a&nbsp;procedure used before him only by the
+17th-century Chinese; and he combined burin work with knife cutting.</p>
+
+<p>But Jackson’s reputation, in the long perspective, must rest upon his
+qualities as an artist. He had great distinction as a colorist but
+lacked originality as a designer and was dependent upon others, for the
+most part, for basic compositions. As an interpreter of these
+compositions, however, he was imaginative and forceful. He did not
+follow the example of most copper plate engravers and reproduce subjects
+faithfully; his conception of the woodcut as a frank medium precluded
+exact rendition. Except, possibly, for his first chiaroscuro, he always
+translated freely, with the aim of making good woodcuts rather than
+accurate representations of his subjects. Jackson’s work after others,
+in short, was consciously intended as artful approximation. This
+emphasis on the spirit rather than the letter, together with his novel
+techniques, often gave his prints a somewhat hybrid character&mdash;an
+ambiguous look that might serve to explain the uneasy feelings of many
+critics. But his largeness of feeling is unmistakable, and this is what
+finally places him among the masters.</p>
+
+<p>The color woodcut is now an important form of printmaking. For this
+medium in the Western world, Jackson is the main ancestral figure.</p>
+
+<hr class = "mid">
+
+<h5 class = "ital"><a name = "footnotes" id = "footnotes">
+Footnotes</a></h5>
+
+<div class = "footnote">
+
+<span class = "pagenum">5</span>
+<!-- png 017 -->
+<p><a name = "note1" id = "note1" href = "#tag1">1.</a>
+The purist’s attitude was pungently expressed by Whistler. Pennell
+records this remark: “Black ink on white paper was good enough for
+Rembrandt; it ought to be good enough for you.” (Joseph Pennell, <i>The
+Graphic Arts</i>, Chicago, 1921, p. 178.)</p>
+
+<p><a name = "note2" id = "note2" href = "#tag2">2.</a>
+The only earlier name is that of George Edwards. Oxford University has
+most of the blocks for a decorated alphabet he engraved on end-grain
+wood for Dr. Fell in 1674. Further data on Edwards can be found in Harry
+Carter’s <i>Wolvercote Mill</i>, Oxford, 1957, pp. 14, 15, 20, and in
+Moxon’s <i>Mechanick Exercises, or the Doctrine of Handy Works Applied
+to the Art of Printing</i>. (Reprint of 1st ed., 1683, edited and
+annotated by Herbert Davis and Harry Carter, Oxford, 1958, p. 26n.)</p>
+
+<span class = "pagenum">6</span>
+<!-- png 018 -->
+<p><a name = "note3" id = "note3" href = "#tag3">3.</a>
+Jackson, London, 1754. Hereafter cited as Essay. Other references
+bearing directly on Jackson will receive only partial citation in the
+text. They are given in full in the bibliography, page 171.</p>
+
+<p><a name = "note4" id = "note4" href = "#tag4">4.</a>
+Papillon, Paris, 1766. Hereafter cited as the <i>Traité</i>.</p>
+
+<span class = "pagenum">7</span>
+<!-- png 019 -->
+<p><a name = "note5" id = "note5" href = "#tag5">5.</a>
+Occasional book illustrations in two or three colors, confined chiefly
+to initial letters and ornamental borders, appeared as early as the 15th
+century. Ratdolt in 1485 printed astronomical diagrams in red, orange,
+and black, and used similar colors in a Crucifixion in the <i>Passau
+missal</i> of 1494. The <i>Liber selectarum cantionum</i> of Senfel,
+1520, however, has a frontispiece printed in a broad range of colors
+from more than four woodblocks. The design is attributed to Hans
+Weiditz.</p>
+
+<span class = "pagenum">8</span>
+<!-- png 020 -->
+<p><a name = "note6" id = "note6" href = "#tag6">6.</a>
+Walpole, 1765 (1st ed. 1762), p.&nbsp;3.</p>
+
+<p><a name = "note7" id = "note7" href = "#tag7">7.</a>
+William Gilpin, <i>An Essay on Prints</i>, London, 1781 (1st ed. 1768),
+p. 47. “There are three kinds of prints, engravings, etchings, and
+mezzotintos.”</p>
+
+<p><a name = "note8" id = "note8" href = "#tag8">8.</a>
+Maberly, 1844, p. 130.</p>
+
+<span class = "pagenum">9</span>
+<!-- png 021 -->
+<p><a name = "note9" id = "note9" href = "#tag9">9.</a>
+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!</p>
+
+<span class = "pagenum">10</span>
+<!-- png 022 -->
+<p><a name = "note10" id = "note10" href = "#tag10">10.</a>
+Adam Bartsch, <i>Le Peintre graveur</i>, Vienna, 1803-1821.</p>
+
+<span class = "pagenum">12</span>
+<!-- png 024 -->
+<p><a name = "note11" id = "note11" href = "#tag11">11.</a>
+Andrea Andreani in 1599 published ten plates after cartoons of
+Mantegna’s nine paintings, <i>The Triumph of Julius Caesar</i>
+(B.&nbsp;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.</p>
+
+<span class = "pagenum">14</span>
+<!-- png 026 -->
+<p><a name = "note12" id = "note12" href = "#tag12">12.</a>
+Papillon, 1766, vol. 1, p. 323. Most probably Papillon confused “Ekwits”
+with Elisha Kirkall.</p>
+
+<p><a name = "note13" id = "note13" href = "#tag13">13.</a>
+Chatto and Jackson, 1861 (1st ed. 1839), p. 448.</p>
+
+<p><a name = "note14" id = "note14" href = "#tag14">14.</a>
+Linton, 1889, p. 130.</p>
+
+<p><a name = "note15" id = "note15" href = "#tag15">15.</a>
+London, 1752. Hereafter cited as the <i>Enquiry</i>. 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 <i>Bibliography of Printing, London, 1880-86</i>, vol.&nbsp;1,
+p.&nbsp;201, described it as dealing with “certain improvements in
+printing-types made by Jackson, the typefounder.”</p>
+
+<span class = "pagenum">16</span>
+<!-- png 028 -->
+<p><a name = "note16" id = "note16" href = "#tag16">16.</a>
+Bewick, 1925 (1st ed. London, 1862), pp. 211-212.</p>
+
+<span class = "pagenum">19</span>
+<!-- png 031 -->
+<p><a name = "note17" id = "note17" href = "#tag17">17.</a>
+The <i>Petit almanach de Paris</i>, founded by J.&nbsp;M. Papillon in
+1727 and illustrated with his woodcuts.</p>
+
+<span class = "pagenum">20</span>
+<!-- png 032 -->
+<p><a name = "note18" id = "note18" href = "#tag18">18.</a>
+Smith, 1755, p. 136.</p>
+
+<p><a name = "note19" id = "note19" href = "#tag19">19.</a>
+See cuts in <i>Dissertatiumeula quodlibetariis disputationibus</i> of
+C.&nbsp;L. Berthollet, Paris, 1780, and <i>Voyage littéraire de la
+Grèce</i>, of de Guys, 1783.</p>
+
+<p><a name = "note20" id = "note20" href = "#tag20">20.</a>
+P. 415. This may be the print formerly in Dresden but lost during the
+war.</p>
+
+<span class = "pagenum">22</span>
+<!-- png 034 -->
+<p><a name = "note21" id = "note21" href = "#tag21">21.</a>
+<i>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.&nbsp;le Duc d’Orléans et dans d’autres cabinets, divisé suivant
+les différentes écoles.</i> Paris, 1729-42, 2 vols., 182 plates. Often
+called the <i>Cabinet Crozat</i>, it was reprinted by Basan in 1763 with
+aquatint tones by François Charpentier replacing the woodblock
+tints.</p>
+
+<p><a name = "note22" id = "note22" href = "#tag22">22.</a>
+<i>Imperatorum imagines</i>, Antwerp, 1557. The woodblocks were cut by
+Josse Geitleugen.</p>
+
+<p><a name = "note23" id = "note23" href = "#tag23">23.</a>
+In the <i>Enquiry</i> (p. 31) Jackson asserts that Kirkall’s tints were
+made from copper plates, not woodblocks.</p>
+
+<span class = "pagenum">26</span>
+<!-- png 038 -->
+<p><a name = "note24" id = "note24" href = "#tag24">24.</a>
+Zanetti certainly cut many of his own blocks, as the prints with the
+signature “A.&nbsp;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.</p>
+
+<p><a name = "note25" id = "note25" href = "#tag25">25.</a>
+These cuts were also used for the <i>Biblia Sacra</i>, published by
+Hertz in Venice in 1740.</p>
+
+<span class = "pagenum">28</span>
+<!-- png 040 -->
+<p><a name = "note26" id = "note26" href = "#tag26">26.</a>
+Papillon, vol. 2, 1766, pp. 372-373.</p>
+
+<p><a name = "note27" id = "note27" href = "#tag27">27.</a>
+Bewick, 1925, p. 213.</p>
+
+<span class = "pagenum">31</span>
+<!-- png 043 -->
+<p><a name = "note28" id = "note28" href = "#tag28">28.</a>
+The <i>Neptune</i> was printed on a type press. One of the blocks split
+in printing and Jackson stated that thereafter he used the cylinder
+press exclusively.</p>
+
+<span class = "pagenum">32</span>
+<!-- png 044 -->
+<p><a name = "note29" id = "note29" href = "#tag29">29.</a>
+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&nbsp;am indebted to Dr. Jakob Rosenberg of the Fogg Museum for
+pointing out these similarities.</p>
+
+<span class = "pagenum">33</span>
+<!-- png 045 -->
+<p><a name = "note30" id = "note30" href = "#tag30">30.</a>
+<i>Enquiry</i>, p. 35. The Japanese began to use embossing about 1730.
+See Reichel, 1926, p. 48.</p>
+
+<span class = "pagenum">36</span>
+<!-- png 048 -->
+<p><a name = "note31" id = "note31" href = "#tag31">31.</a>
+Altdorfer’s <i>Beautiful Virgin of Ratisbon</i>, 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.</p>
+
+<p><a name = "note32" id = "note32" href = "#tag32">32.</a>
+Laurence Binyon, <i>A Catalogue of Japanese &amp; Chinese Woodcuts in
+the British Museum</i>, London, 1916, p.&nbsp;xx, introduction.</p>
+
+<span class = "pagenum">39</span>
+<!-- png 051 -->
+<p><a name = "note33" id = "note33" href = "#tag33">33.</a>
+Zanetti, 1792, pp. 689, 716.</p>
+
+<p><a name = "note34" id = "note34" href = "#tag34">34.</a>
+Zanotto, 1856, p. 320, note&nbsp;3.</p>
+
+<span class = "pagenum">40</span>
+<!-- png 052 -->
+<p><a name = "note35" id = "note35" href = "#tag35">35.</a>
+Gallo, 1941, pp. 23-23. Jackson’s blocks are not listed in the Remondini
+catalog of 1817.</p>
+
+<span class = "pagenum">41</span>
+<!-- png 053 -->
+<p><a name = "note36" id = "note36" href = "#tag36">36.</a>
+Vol. 22, pp. 77-79.</p>
+
+<span class = "pagenum">42</span>
+<!-- png 054 -->
+<p><a name = "note37" id = "note37" href = "#tag37">37.</a>
+There is little doubt that Jackson meant Francesco Simonini (1686-1753),
+a&nbsp;painter of battle subjects who was born in Parma and lived in
+Venice in the 1740’s.</p>
+
+<p><a name = "note38" id = "note38" href = "#tag38">38.</a>
+Hardie, 1906, p. 23.</p>
+
+<span class = "pagenum">47</span>
+<!-- png 059 -->
+<p><a name = "note39" id = "note39" href = "#tag39">39.</a>
+Oman, 1929, p. 33.</p>
+
+<p><a name = "note40" id = "note40" href = "#tag40">40.</a>
+An excellent description of the papers of this type imported to America
+is given by Edna Donnell in <i>Metropolitan Museum Studies 1932</i>,
+vol. 4, pp. 77-108.</p>
+
+<span class = "pagenum">49</span>
+<!-- png 061 -->
+<p><a name = "note41" id = "note41" href = "#tag41">41.</a>
+British Museum Add. mss. 6210.</p>
+
+<p><a name = "note42" id = "note42" href = "#tag42">42.</a>
+Bewick, 1925, pp. 213-214.</p>
+
+<span class = "pagenum">51</span>
+<!-- png 063 -->
+<p><a name = "note43" id = "note43" href = "#tag43">43.</a>
+<i>The Letters of Horace Walpole</i>, ed. Toynbee, 1903, vol. 3, p.
+166.</p>
+
+<p><a name = "note44" id = "note44" href = "#tag44">44.</a>
+Von Heinecken, 1771, p. 94.</p>
+
+<p><a name = "note45" id = "note45" href = "#tag45">45.</a>
+Huber, Rost, and Martini, 1808, vol. 9, pp. 121-123.</p>
+
+<p><a name = "note46" id = "note46" href = "#tag46">46.</a>
+Baverel, 1807, vol. 1, pp. 341-342.</p>
+
+<p><a name = "note47" id = "note47" href = "#tag47">47.</a>
+Künstler-Lexicon, op. cit.</p>
+
+<span class = "pagenum">52</span>
+<!-- png 064 -->
+<p><a name = "note48" id = "note48" href = "#tag48">48.</a>
+Chatto and Jackson, 1861, p. 455.</p>
+
+<p><a name = "note49" id = "note49" href = "#tag49">49.</a>
+Linton, 1889, p. 214. The second print mentioned is after Titian, not
+Veronese.</p>
+
+<p><a name = "note50" id = "note50" href = "#tag50">50.</a>
+Duplessis, 1880, pp. 314-315. Duplessis, who was
+<i>conservateur-adjoint</i> in the Cabinet des Estampes of the
+Bibliothèque Nationale, no doubt based his judgment on the impressions
+in that collection. Certainly few of these were printed by either
+Jackson or Pasquali.</p>
+
+<p><a name = "note51" id = "note51" href = "#tag51">51.</a>
+Gusman, 1916, pp. 164, 165.</p>
+
+<span class = "pagenum">53</span>
+<!-- png 065 -->
+<p><a name = "note52" id = "note52" href = "#tag52">52.</a>
+Friedländer, 1926 (1st ed. 1917), pp. 224-226.</p>
+
+<p><a name = "note53" id = "note53" href = "#tag53">53.</a>
+Reichel, 1926, p. 48.</p>
+
+<p><a name = "note54" id = "note54" href = "#tag54">54.</a>
+Sugden and Edmondson, 1925, p. 71.</p>
+
+<span class = "pagenum">67</span>
+<!-- png 081 -->
+<p><a name = "note55" id = "note55" href = "#tag55">55.</a>
+Savage, 1822. Jackson’s pioneer work is acknowledged, pp. 15-16.</p>
+
+<span class = "pagenum">68</span>
+<!-- png 082 -->
+<p><a name = "note56" id = "note56" href = "#tag56">56.</a>
+Only one moderately important chiaroscurist can be mentioned, John
+Skippe, who worked in England from the 1770’s to about 1810.</p>
+
+</div>
+
+
+<a name = "page69" id = "page69"> </a>
+<!-- png 083 -->
+
+<h2 class = "chapter"><a name = "catalog" id = "catalog">
+CATALOG</a></h2>
+
+
+<span class = "pagenum">70</span>
+<a name = "page70" id = "page70"> </a>
+<!-- png 084 -->
+
+<p><span class = "dropcap">J</span><span class =
+"firstword">ackson’s</span> chiaroscuros and color woodcuts have been
+grouped under three headings. The first and main section includes,
+besides those of unquestionable authenticity, prints which can be
+attributed to Jackson with some degree of certainty and those actually
+seen by earlier writers but which have apparently disappeared. In each
+case the status of the print in Jackson’s <i>oeuvre</i> has been
+noted.</p>
+
+<p>The second section lists pieces believed to be by Jackson’s workshop.
+Prints that might have been done independently by close followers have
+been included here because we have no evidence that would permit
+distinctions to be drawn.</p>
+
+<p>The last section lists unverified subjects attributed to Jackson in a
+number of museums but which have been lost through war or other causes,
+and doubtful titles found in Nagler and Le Blanc. In each category the
+prints have been listed in chronological order as far as this can be
+determined. The sequence of the Venetian set follows Jackson’s
+description in the <i>Enquiry</i>, although the prints themselves are
+dated somewhat differently.</p>
+
+<p>One difficulty in cataloging Jackson’s work is the prevailing
+confusion in titling, the same prints being listed differently in
+different collections. This was to be expected since the artist almost
+invariably omitted titles. Nagler’s and Le Blanc’s catalogs are not
+descriptive and consequently there has been much guesswork in checking
+titles, particularly since the Venetian set and the Ricci prints are
+only partially listed by both writers, and not entirely correctly. Where
+subjects have not been recorded at all, the variation in titling has
+been greater.</p>
+
+<p>The location of prints has been given, with the exception of those in
+the Venetian set and in the <i>Essay</i>, which are, in part or whole,
+in too many collections to make listing feasible. It is not to be taken
+as complete. Jackson prints in a number of museums, particularly in
+Germany, have disappeared but might turn up again; some are still packed
+in boxes and await return to collections. For the sake of simplicity the
+names of cities alone have been used with the understanding that the
+chief print collection is meant. Exceptions are Boston where the Museum
+of Fine Arts is abbreviated to MFA and the Fogg Art Museum is shortened
+to Fogg, New York where the Metropolitan Museum of Art is listed as MMA
+and the New York Public Library as NYPL, and London where the British
+Museum is noted as BM and the Victoria &amp; Albert as
+V&nbsp;&amp;&nbsp;A.</p>
+
+<span class = "pagenum">71</span>
+<a name = "page71" id = "page71"> </a>
+<!-- png 085 -->
+<p>The woodcuts reproduced are numbered according to this catalog, and
+placed as nearly as possible in the same order. When prints have been
+listed by Nagler or Le Blanc their corresponding numbers have been
+included. Print sizes are given in inches, vertical sides first.</p>
+
+
+<h4 class = "ital"><a name = "cat_prints" id = "cat_prints">
+Prints by Jackson</a></h4>
+
+<p class = "mynote">
+The “Inscriptions” are shown as nearly as possible as printed.
+Typographic features such as the use of long “s” (ſ) and variation
+between italic and non-italic small capitals are reproductions of the
+original, as seen in the Plates. Some computers may not be able to
+display italic long “s”.</p>
+
+<div class = "catalog">
+
+
+<p class = "number">
+<a name = "cat1" id = "cat1" href = "#plate1">1.</a></p>
+
+<p><i>Christ Giving the Keys to St. Peter</i>, after Raphael
+<span class = "floatright">
+[Le Bl. 7, N. 9]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+7¼ × 9¾ inches with letters, 6½ × 9¾ inches without letters.</p>
+
+<p>Blocks, 4:<br>
+Light brown, light gray-brown, gray-brown, black.</p>
+
+<p>Inscription, lower left:<br>
+“<i>Raph. Urb. inv.</i>”</p>
+
+<p>Below, under border:<br>
+“<span class = "smallcaps">Tho. Hollis</span> <i>Arm.</i> Hospit.
+Lincoln. D.&nbsp;D.&nbsp;D. &nbsp;J.&nbsp;B.&nbsp;Jackſon
+<i>sculptor</i>.”</p>
+</div>
+
+<div class = "inline">
+<p>About 1727. The dedication was added about 1750. After a drawing, now
+in the Louvre, for Raphael’s tapestry cartoons.</p>
+
+<p class = "right">
+MFA, BM, Berlin-Dahlem</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat2" id = "cat2" href = "#plate2">2.</a></p>
+
+<p><i>Venus and Cupid with a Bow</i>, after Parmigianino</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¾ × 6¼ inches with letters, 8¾ × 6¼ inches without letters.</p>
+
+<p>Blocks, 4:<br>
+Buff, light brown, terra-cotta red, black.</p>
+
+<p>Inscription, bottom:<br>
+“<span class = "smallcaps">Tho. Brand</span> <i>Arm.</i> Hospit. Temp.
+D.&nbsp;D.&nbsp;D. / J.&nbsp;B.&nbsp;Jackſon <i>sculptor</i>.”</p>
+
+<p>Left, running vertically:<br>
+“<i>F. M. Parm. inv.</i>”</p>
+</div>
+
+<div class = "inline">
+<p>1731.</p>
+
+<span class = "pagenum">72</span>
+<a name = "page72" id = "page72"> </a>
+<!-- png 086 -->
+
+<p>The dedication was added about 1750. Other impressions occur in a
+combination of green and brown and also in gray and green. Five
+impressions are in the British Museum including one in which two
+slanting vertical lines in the table immediately to the left of Cupid’s
+left leg are omitted.</p>
+
+<p class = "right">
+Philadelphia, MFA, BM, V&amp;A, Berlin-Dahlem, Rotterdam, Brussels</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat3" id = "cat3" href = "#plate3">3.</a></p>
+
+<p><i>Woman Standing Holding Jar on Her Head</i>, after Parmigianino</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+6¾ × 3½ inches.</p>
+
+<p>Blocks, 2:<br>
+Mustard yellow, black.</p>
+
+<p>Inscription, at bottom:<br>
+“<i>Per Illustri, ac Præclaro Viro <span class = "smallcaps">Joseph
+Smith</span> / J.&nbsp;B.&nbsp;Jackson Humiliter Dedicat Donat, et /
+Sculpsit.</i> 1731.”</p>
+
+<p>Another state has the following added in small letters:<br>
+“Antonius Ma Zanetti a Jacobo Parmense Delin.”</p>
+</div>
+
+<div class = "inline">
+<p>The block for the tone is in two versions. The one illustrated is
+dotted in the jar to show gradations, while the other one is more
+loosely handled.</p>
+
+<p>Free copy of line engraving by G. A. Faldoni.</p>
+
+<p class = "right">
+BM, V&amp;A</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat4" id = "cat4">4.</a></p>
+
+<p><i>Headpiece with Landscape and Ruins</i></p>
+
+<div class = "inline">
+<p>This print is listed in the Staatliche Kunstsammlungen, Dresden, but
+has been lost in the war. No information as to color or size is
+available. The card catalogue has the following description:</p>
+
+<p class = "inset">
+“Ruins to the left. In the middle going over a river is a bridge. To the
+right is a city view with campanile, dome and other buildings. Dated
+1731.”</p>
+
+<p>Probably made for use in a book. This seems to be the print described
+by Baverel and the “<i>petite vue</i>” Papillon mentioned.</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat5" id = "cat5" href = "#plate5">5.</a></p>
+
+<p><i>Woman Meditating</i> (<i>St. Thais?</i>), after Parmigianino</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+15⅜ × 9¼ inches with letters, 10¾ × 9¼ inches without letters.</p>
+
+<p>Blocks, 2:<br>
+Pale brown, black. Also in green and blue-green.</p>
+
+<p>After etching by Parmigianino (B. 10).</p>
+
+<span class = "pagenum">73</span>
+<a name = "page73" id = "page73"> </a>
+<!-- png 087 -->
+
+<p>Inscription, left near top, running diagonally upward:<br>
+“<i>F: M: Parmen<ins class = "correction" title = "superscript illegible">* </ins>/ Inventor / J:&nbsp;B: Jackſon Del / Sculp &amp;
+excudit.</i>”</p>
+
+<p>Bottom, beneath lower border:<br>
+“<span class = "smallcaps">Societati Antiquariæ Londinensi</span> /
+<i>Humillime </i>D.D.D.<i> &nbsp;J.B.J</i></p>
+
+<div class = "poem ital">
+<p>Certo da cor, ch’ alto deſtin non Scelſe,</p>
+<p>Son l’impreſe magnanime neglette;</p>
+<p>Ma le bell’ alme alle bell’ opre elette</p>
+<p>Sanno gioir nelle fatiche eccelſe;</p>
+<p>Nè biaſmo popular, frale catena,</p>
+<p>Spirto d’onore, il ſuo cammin raffrena.”</p>
+</div>
+
+<p>This inscription was added much later, about 1750.</p>
+</div>
+
+<div class = "inline">
+<p class = "right">
+MFA, MMA, Philadelphia,
+BM, Berlin-Dahlem, Vienna, Bremen, Brussels, Amsterdam, Dresden</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat6" id = "cat6" href = "#plate6">6.</a></p>
+
+<p><i>Ulysses and Polyphemus</i>, after Primaticcio</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+7¾ × 10⅛ inches.</p>
+
+<p>Blocks, 2:<br>
+Greenish yellow, black.</p>
+
+<p>Inscription, bottom right:<br>
+“J. 9”</p>
+</div>
+
+<div class = "inline">
+<p>Some copies lack the inscription. This is from plate 9 of Theodor Van
+Thulden’s 58 etchings reproducing designs by Primaticcio in
+Fontainebleau, published as “<i>Les Travaux d’Ulisse</i>” by
+P.&nbsp;Mariette in Paris, 1633.</p>
+
+<p>These etchings were published again in 1740 as “<i>Errores
+Ulyssis</i>.” Listed as by Jackson in Weigel’s <i>Kunstlagercatalog</i>,
+1843, vol. 2., p. 103.</p>
+
+<p class = "right">
+BM, V&amp;A</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat7" id = "cat7" href = "#plate7">7.</a></p>
+
+<p><i>Bookplate</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+4¼ × 6 inches, approximately.</p>
+
+<p>Blocks, 2:<br>
+Reddish brown, black.</p>
+
+<p>Inscription left and right top, in ribbon:<br>
+“<span class = "smallcaps">Litterarum Felicitas</span>”</p>
+</div>
+
+<p class = "right">
+BM</p>
+
+<span class = "pagenum">74</span>
+<a name = "page74" id = "page74"> </a>
+<!-- png 088 -->
+
+
+<p class = "number">
+<a name = "cat8" id = "cat8" href = "#plate8">8.</a></p>
+
+<p><i>Judgment of Solomon</i>, after Rubens</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+17 × 20⅜ inches.</p>
+
+<p>Blocks, 4:<br>
+Yellow-buff, light brown, violet-brown, dark brown.</p>
+
+<p>Inscription, lower right:<br>
+“<i>Ill.<sup>mo</sup> et Exc.<sup>mo</sup> D.D. <span class =
+"smallcaps">Philippo Farsetti</span>, / Patritio <span class =
+"smallcaps ital">Veneto</span>, Patrono suo Benefic.<sup>mo</sup></i> /
+Tabulam <i>hanc <span class = "smallcaps ital">Petri Pauli
+Rubens</span>. / In Ligno cœlavit, et in sui Obsequii et grati Animi /
+Monumentum humiliter Devovet J.&nbsp;B.&nbsp;Jackson.</i>”</p>
+</div>
+
+<div class = "inline">
+<p>1735.</p>
+
+<p class = "right">
+BM, Brussels, Venice</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat9" id = "cat9" href = "#plate9">9.</a></p>
+
+<p><i>The Visitation</i>, after Annibale Carracci</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+14¼ × 10¼ inches.</p>
+
+<p>Blocks, 4:<br>
+Light yellow, buff, brown, dark gray.</p>
+
+<p>Inscription, upper right:<br>
+“<i><ins class = "correction" title = "‘AL’ ligature sharing vertical line">[AL]</ins>.
+Caratius Pinx<sup>t</sup>. / J: B: Jackson Fecit /
+<span class = "smallcaps">Venezia</span> 1735.</i>”</p>
+</div>
+
+<div class = "inline">
+<p>Weigel described this print as <i>Der Besuch bei Elisabeth</i> in his
+<i>Kunstlagercatalog</i>, 1843, vol. 2, p. 103.</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum),
+MFA, Philadelphia, BM, Dresden</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat10" id = "cat10" href = "#plate10">10.</a></p>
+
+<p><i>Julius Caesar</i>, after Titian</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+12 × 9½ inches.</p>
+
+<p>Blocks, 4:<br>
+Tones of brown with dark brown key block.</p>
+</div>
+
+<div class = "inline">
+<p>About 1738.</p>
+
+<p>This is a free translation of an engraving by Egidius Sadeler [Le Bl.
+143] after one of a series of Roman emperors attributed to Titian. The
+original paintings have been lost.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+<span class = "pagenum">75</span>
+<a name = "page75" id = "page75"> </a>
+<!-- png 089 -->
+
+
+<p class = "number">
+<a name = "cat11" id = "cat11" href = "#plate11">11.</a></p>
+
+<p><i>St. Rocco</i>, after Cherubino Alberti</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+12¼ × 10¼ inches.</p>
+
+<p>Blocks, 3:<br>
+Green, reddish tan, black.</p>
+
+<p>“S. Rocco” added by another hand.</p>
+</div>
+
+<div class = "inline">
+<p>Some impressions lack the inscription. Also in two colors, mustard
+yellow and black.</p>
+
+<p>Free transcription of a line engraving by Cherubino Alberti after an
+undetermined painter (Le Bl. 61). A&nbsp;facsimile in grayed chartreuse
+and black was published by the Reichsdruckerei in Berlin, about
+1925.</p>
+
+<p class = "right">
+MFA, BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat12" id = "cat12" href = "#plate12">12.</a></p>
+
+<p><i>Statuette of Neptune</i>, after Giovanni da Bologna
+<span class = "floatright">
+[Le Bl. 19, N. 8]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22½ × 15⅜ inches.</p>
+
+<p>Blocks, 4:<br>
+Tones of tan and brown.</p>
+
+<p>Inscription, bottom:<br>
+“<i>Ex Prototypo Æreo <span class = "smallcaps">Joannis· Bolonia</span>
+<span class = "smallcaps ital">Duacensis</span> in / Museo <span class =
+"smallcaps ital">D: Josephi Smith</span> Venetiis. / J.B.&nbsp;Jackſon
+Anglus Sculp &amp; exc.</i>”</p>
+</div>
+
+<div class = "inline">
+<p>About 1738.</p>
+
+<p>The first state is without letters. Third state has inscription on
+top of statue base, “<i><span class = "smallcaps">Gul. Lloyd</span> Arm.
+D.D.D.&nbsp; J.B.J.</i>”</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum),
+MFA, Los Angeles, BM, Paris, Berlin-Dahlem, Wiemar, Amsterdam</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat13" id = "cat13" href = "#plate13">13.</a></p>
+
+<p><i>Descent from the Cross</i>, after Rembrandt
+<span class = "floatright">
+[Le Bl. 10, N. 3]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+14 × 11 inches (arched print).</p>
+
+<p>Blocks, 4:<br>
+Yellow, gray, light brown, dark violet-brown.</p>
+
+<p>Inscription, bottom left:<br>
+“<i>Rembrandt pinxit, alt. p. 1. lat. unc x.&nbsp;Extat Venetiis in domo
+<span class = "smallcaps">J: Smith</span>.</i>”</p>
+
+<p>Bottom right:</p>
+
+<p>“<i>J: B: Jackson figuras juxta Archetypum Sculp. &amp; excudit.
+1738.</i>”</p>
+
+<span class = "pagenum">76</span>
+<a name = "page76" id = "page76"> </a>
+<!-- png 090 -->
+<p>Bottom:</p>
+
+<p>“Acceperunt ergo Corpus JESU, &amp; ligaverunt illud linteis / cum
+Aromatibus, sicut mos est Judæis sepelire. <i>S.&nbsp;Joan. Cap. <span
+class = "smallcaps">xix</span> Ver. xi.</i>”/</p>
+
+<p>Lower, with coat of arms:</p>
+
+<p>“<i>Perillustri ac Praeclaro <ins class = "correction"
+title = "text has ‘Viro’ in small capitals, ‘Smith’ in plain type, but see plate">Viro
+<span class = "smallcaps ital">D.&nbsp;Josepho Smith</span></ins> /
+Insigne hoc Opus affabre in Ligno coelavit, &amp; in sui / obseqii &amp;
+grati Animi monu-mentum humiliter devovet / J: B: Jackson</i>”</p>
+</div>
+
+<div class = "inline">
+<p class = "right">
+Smithsonian Institution (U.S. National Museum), MFA, Fogg, MMA, NYPL,
+Chapel Hill, Philadelphia, BM, Paris, Berlin-Dahlem, Vienna, Rotterdam,
+Hamburg, Prague</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat14" id = "cat14" href = "#plate14">14.</a></p>
+
+<p><i>Christ and the Woman of Samaria</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+14¼ × 20⅜ inches.</p>
+
+<p>Blocks, 3:<br>
+Buff, greenish yellow, black.</p>
+</div>
+
+<div class = "inline">
+<p>After a Bolognese master. Weigel described this as a “beautiful”
+chiaroscuro by Jackson.</p>
+
+<p class = "right">
+MFA</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat15" id = "cat15" href = "#plate15">15.</a></p>
+
+<p><i>Romulus and Remus, Wolf and Sea God</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+2¾ × 7½ inches.</p>
+
+<p>Blocks, 2:<br>
+Green, black.</p>
+</div>
+
+<div class = "inline">
+<p>Attributed to Jackson. Probably an illustration for a book.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat16" id = "cat16" href = "#plate16">16.</a></p>
+
+<p><i>The Death of <ins class = "correction" title = "period invisible">St.</ins> Peter Martyr</i>, after Titian
+<span class = "floatright">
+[Le Bl. 16, N. 10]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+21¼ × 13½ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, pale greenish gray, brown, dark gray.</p>
+
+<p>Inscription, lower left (inside border):<br>
+“<i>J: B: Jackson Sculp: &amp; Excudit Venetiis</i> 1739.”</p>
+
+<p>Outside bottom frame, center:<br>
+“<span class = "smallcaps">Titianus Vecellius Cad. Invenit &amp;
+Pinxit.</span>”</p>
+</div>
+
+<p class = "inline">
+The painting was destroyed by fire in 1867.</p>
+
+<span class = "pagenum">77</span>
+<a name = "page77" id = "page77"> </a>
+<!-- png 091 -->
+
+
+<p class = "number">
+<a name = "cat17" id = "cat17" href = "#plate17">17.</a></p>
+
+<p><i>The Presentation in the Temple</i> (The Circumcision), after
+Veronese
+<span class = "floatright">
+[Le Bl. 4, N. 15]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+21⅛ × 15⅛ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, reddish gray, dark gray, dark brown.</p>
+
+<p>Inscription, bottom:<br>
+“<i>Illustrissimo, &amp; Erudito Viro <span class = "smallcaps">Carolo
+Frederick</span> Armigero, liberalium Artium Patrono, / <span class =
+"smallcaps ital">Pauli Cagliari</span> praeclarum hoc Opus in Ligno
+coelatum, in grati animi argumentum humiliter </i>D.&nbsp;D.&nbsp;D.<i>
+/ J:&nbsp;B: Jackson</i>.”</p>
+</div>
+
+<p class = "inline">
+1739.</p>
+
+
+<p class = "number">
+<a name = "cat18" id = "cat18" href = "#plate18">18.</a></p>
+
+<p><i>The Massacre of the Innocents</i>, after Tintoretto
+<span class = "floatright">
+[Le Bl. 5]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+15½ × 21 inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, violet-gray, light brown, dark violet-brown.</p>
+
+<p>Inscription, center bottom:<br>
+“<i>Illustrissimo, / et Praeclaro Viro Dno. Dno. / <span class =
+"smallcaps">Smart Lethieullier</span> / Eruditæ Antiquitatis Studioso /
+Investigatori, Tabellam hanc / <span class = "smallcaps ital">Jacobi
+Robusti</span></i> in sui / obsequium D.&nbsp;D.&nbsp;D. <i>J:&nbsp;B:
+Jackson</i>.”</p>
+</div>
+
+<p class = "inline">
+1739.</p>
+
+
+<p class = "number">
+<a name = "cat19" id = "cat19" href = "#plate19">19.</a></p>
+
+<p><i>The Entombment</i>, after Jacopo Bassano
+<span class = "floatright">
+[Le Bl. 12., N. 5]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+21⅞ × 15¼ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, light reddish tan, gray, dark brown.</p>
+
+<p>Inscription on urn, above lower right-hand corner:<br>
+“<i>J: B: Jackson Delin Sculp &amp; excudit 1739</i>”</p>
+
+<p>Across bottom:<br>
+“<i>Insignem hanc Tabulam a <span class = "smallcaps">Jacobo de
+Ponte</span> depictam. Clarissimo Viro <span class = "smallcaps">Jacobo
+Facciolato</span> Seminarii Patavini Præsidi; Archigymnasii ornamenta /
+ingenii doctrinæ, &amp; in primis Latina eloquentia laude celeberrimo
+J&nbsp;B Jackson D.&nbsp;C.</i>”</p>
+</div>
+
+<span class = "pagenum">78</span>
+<a name = "page78" id = "page78"> </a>
+<!-- png 092 -->
+
+
+<p class = "number">
+<a name = "cat20" id = "cat20" href = "#plate20">20.</a></p>
+
+<p><i>Holy Family and Four Saints</i>, after Veronese</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22⅛ × 13⅝ inches.</p>
+
+<p>Blocks, 4:<br>
+Light yellow, light greenish gray, dark brown, dark gray.</p>
+
+<p>Inscription, bottom center:<br>
+“<i>Perillustri et Nobili Viro <span class = "smallcaps
+ital">D<sup>NO</sup> D<sup>NO</sup></span> / <span class =
+"smallcaps">Bourchier Wrey</span> <span class = "smallcaps
+ital">Barronetto</span> / Generoso Artium Liberalium Fautori / in sui
+Obsequium</i> D.&nbsp;D.&nbsp;D. <i>J.&nbsp;B.&nbsp;Jackson / P: C:
+Veronese Pinxit.</i>”.</p>
+</div>
+
+<p class = "inline">
+1739.</p>
+
+
+<p class = "number">
+<a name = "cat21" id = "cat21" href = "#plate21">21.</a></p>
+
+<p><i>The Mystic Marriage of <ins class = "correction" title = "period invisible">St.</ins> Catherine</i>, after Veronese
+<span class = "floatright">
+[Le Bl. 18, N. 4]</span></p>
+
+<div class = "entry">
+<p>Dimensions:<br>
+22 × 15¼ inches.</p>
+
+<p>Blocks, 4:<br>
+Pale greenish gray, pale violet-gray, medium greenish gray, deep cold
+gray.</p>
+
+<p>Inscription, lower center:<br>
+“<i><span class = "smallcaps">Gulielmo Windham</span> / Armigero, Artium
+Elegantiorum / Fautori, hanc Tabulam humillime / Dedicat /
+J.&nbsp;B.&nbsp;Jackson.</i>”</p>
+
+<p>Bottom left:<br>
+“<i>Paulo Veronese Pinxit J B J f 1740</i>”</p>
+</div>
+
+<p class = "inline">
+Many impressions are found in brown tones.</p>
+
+
+<p class = "number">
+<a name = "cat22" id = "cat22" href = "#plate22a">22.</a></p>
+
+<p><i>The Crucifixion</i>, after Tintoretto
+<span class = "floatright">
+[Le Bl. 9, N. 13]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+21½ × 16¼ inches (left plate), 22¾ × 16⅜ inches (center plate), 21½ ×
+16½ inches (right plate).</p>
+
+<p>Blocks, 4:<br>
+Buff, light brown, gray, reddish brown.</p>
+
+<p>Inscription, bottom center (center plate):<br>
+“<i>Illustrissimo &amp; Nob: Viro D<sup>no</sup>: D<sup>no</sup>: /
+<span class = "smallcaps">Richardo Boyle</span> Comti de Burlington
+&amp; Cork &amp;c. / Magnæ Britanniæ &amp; Hiberniæ Pari, Hiberniæ
+Archi-thesaurario / Heredetario, Nobilisimi Ordinis Periscelidis Equiti
+&amp;c. / Optimæ Architecturæ Instauratori ac Cæterarum Artium
+Liberalium / Moecenati munificentissimo. / Singolare
+<span class = "pagenum">79</span>
+<a name = "page79" id = "page79"> </a>
+<!-- png 093 -->
+hoc Opus a <span class = "smallcaps ital">Jacobo Robusti</span> depictam
+in Schola S: <span class = "smallcaps ital">Rocci</span> Venetiis /
+adservatum. J:&nbsp;B: Jackson Anglus qui Ligno Coelavit humillime
+D.&nbsp;D. C. 1741.</i>”</p>
+
+<p>On shield, bottom center (center plate):<br>
+“<span class = "smallcaps">Honi Soit·Qui·Mal y Pense·</span>”</p>
+
+<p>Below shield, bottom center (center plate):<br>
+“<span class = "smallcaps">Honor· Virtutis· Premium.</span>”</p>
+</div>
+
+<div class = "inline">
+<p>A bust portrait of a man in 18th-century dress is visible on the
+<a href = "images/colorplate22b_detail.jpg" target = "_blank">right
+knee</a> of the woman with a child in the center background of the left
+sheet. It is not a likeness of Richard Boyle. Could this be a
+self-portrait by Jackson?</p>
+
+<p>A trial proof of the key block, center sheet, is in the Rosenwald
+Collection, National Gallery of Art.</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat23" id = "cat23" href = "#plate23a">23.</a></p>
+
+<p><i>Miracle of St. Mark</i>, after Tintoretto
+<span class = "floatright">
+[Le Bl. 15, N. 2]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22¼ × 17¾ inches (left sheet), 22¼ × 17¾ inches (right sheet).</p>
+
+<p>Blocks, 4:<br>
+Buff, light brown, dark brown, dark gray.</p>
+
+<p>Inscription, lower left (left sheet):<br>
+“<i>Per illustri </i>D<sup>no</sup> D<sup>no</sup> / <span class =
+"smallcaps">Eduardo Wright</span><i>, / Armigero, / pulcrarum Artium
+ex-/cultori vel sollertissimo, / hoc </i>Jacobi Robusti<i> / (communiter
+Tintoretto) / præclarum opus in / suæ argumentum ob-/servantiæ addicit,
+et / consecrat J.&nbsp;B.&nbsp;Jackſon.</i>”</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat24" id = "cat24" href = "#plate24a">24.</a></p>
+
+<p><i>The Marriage at Cana</i>, after Veronese</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+23 × 16¾ inches (left sheet), 23 × 16¾ inches (right sheet).</p>
+
+<p>Blocks, 4:<br>
+Buff, dark buff, violet-brown, dark brown.</p>
+
+<p>Inscription, lower left (left sheet):<br>
+“<i>Paulo Cagliari / Veron: Pinxit.</i>”</p>
+
+<p>Lower right (right sheet):<br>
+“Rev<sup>mo.</sup> D<sup>no.</sup> P. / <i><span class = "smallcaps
+ital">Leopoldo Capello</span> Coenobii <span class = "smallcaps
+ital">D:&nbsp;Georgii</span> / Ord: S:&nbsp;Benedict: / <span class =
+"smallcaps">Abbati</span> / meritissimo. / J:&nbsp;B: Jackson</i> /
+D.&nbsp;D.&nbsp;D.”</p>
+
+<p>Extreme lower right (right sheet):<br>
+“<i>J: B: Jackson Delin: Sculp. / &amp; excudit Venetiis 1740.</i>”</p>
+</div>
+
+<p class = "inline">
+Jackson in the <i>Enquiry</i> (p. 48) described this print, and the two
+preceding subjects, as being “in <i>Hugo’s</i> Manner with
+Improvements.”</p>
+
+<span class = "pagenum">80</span>
+<a name = "page80" id = "page80"> </a>
+<!-- png 094 -->
+
+
+<p class = "number">
+<a name = "cat25" id = "cat25" href = "#plate25a">25.</a></p>
+
+<p><i>Presentation of the Virgin in the Temple</i>, after Titian
+<span class = "floatright">
+[Le Bl. 3, N. 18]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22 × 15⅜ inches (left sheet), 22 × 17⅞ inches (center sheet), 22 × 17¼
+inches (right sheet).</p>
+
+<p>Blocks, 4:<br>
+Light grayish umber, medium brown, dark gray, dark brown.</p>
+
+<p>Inscription, lower left (left sheet):<br>
+“<i>Opus hoc admiratione sane dignum, cunctorumq; approbatione /
+commendatum, ac Sacrarii Confratrum Caritatis Venetiarum / potiſſimum
+ornamentum, a</i> Titiano Viccellio <i>Cadorensi, / Viro pingendi arte
+præ cæteris celeberrimo, coloribus quam / fieri potest ad naturale
+expressum, adumbratumq; pro viribus / exscribere studens J:&nbsp;B:
+Jackson delineavit, excudit, et exſculpsit.</i> 1742.”</p>
+
+<p>Lower right, on streamer (right sheet):<br>
+“<span class = "smallcaps">Ducit· Amor Patriæ.</span>”</p>
+
+<p>Lower right, in block (right sheet):<br>
+“Per Illustri, ac Nobili Viro D:<sup>no</sup> D:<sup>no</sup> / <span
+class = "smallcaps">Erasmo Philipps Barronetto</span>/
+<i>Artium zelantissimo Fautori, et de re litteraria / optime merito,
+Tabulam hanc tenue debitæ venerationis / suæ argumentum, emeritissimo
+Patrono, et Mecænati / commendat, et dicat / J:&nbsp;B:
+Jackſon.</i>”</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat26" id = "cat26" href = "#plate26">26.</a></p>
+
+<p><i>The Virgin in the Clouds and Six Saints</i>, after Titian
+<span class = "floatright">
+[Le Bl. 14, N. 17]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+23¼ × 14¾ inches.</p>
+
+<p>Blocks, 2:<br>
+Buff, black.</p>
+
+<p>Inscription, upper left and right:<br>
+“Ill<sup>mo</sup> atq; Excell:<sup>mo</sup> D:<sup>no</sup>
+D:<sup>no</sup> <span class = "smallcaps">Philippo Farsetti</span> Nob.
+Ven. / <i>Tabellam hanc a </i>Titiano Viccellio<i> jam depictam in /
+gratissimi animi, cultusq; perpetui testimonium, / Mecænati, ac Sospiti
+munificentissimo / humiliat, et consecrat
+</i>J.&nbsp;B.&nbsp;Jackſon<i>.</i>”</p>
+
+<p>Center of picture, on wall:<br>
+“<span class = "smallcaps">Titianus Faciebat</span>”</p>
+
+<p>Bottom center:<br>
+“<i>J.&nbsp;B. Jackson Del: sculp:&amp;c. 1742.</i>”</p>
+</div>
+
+<p class = "inline">
+Niccolò Boldrini’s woodcut after Titian’s drawing of the lower half of
+this subject (Le Bl. 12) evidently inspired Jackson to transcribe the
+entire painting as a pen-and-ink drawing in Titian’s style, with a tint
+block added.</p>
+
+<span class = "pagenum">81</span>
+<a name = "page81" id = "page81"> </a>
+<!-- png 095 -->
+
+
+<p class = "number">
+<a name = "cat27" id = "cat27" href = "#plate27">27.</a></p>
+
+<p><i>The Descent of the Holy Spirit</i>, after Titian
+<span class = "floatright">
+[Le Bl. 13, N. 1]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22⅜ × 15⅛ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, light gray-brown, light yellow-brown, dark brown.</p>
+
+<p>Inscription, upper left and right:<br>
+“<i>Perilluſtri, ac Nobili Viro D:<sup>no</sup> D:<sup>no</sup> <span
+class = "smallcaps">Jacobo Stewart Mackinzie</span>, / Honorabili Magnæ
+Britan-niæ Conſilii Conſcripto Patri / Opus hoc, quod ex</i> Titi-ani
+Viccellii <i>Pictura, / exſcripsit, in humillimi obſequii testi-/monium
+devo-vebat</i> / J.&nbsp;B.&nbsp;Jackſon.”</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat28" id = "cat28" href = "#plate28">28.</a></p>
+
+<p><i>The Finding of Moses</i>, after Veronese
+<span class = "floatright">
+[Le Bl. 2, N.14]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22 × 15 inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, light brown, light violet-gray, dark gray.</p>
+
+<p>Inscription, lower right:<br>
+“<i>Ill<sup>mo</sup> et Excell<sup>mo</sup> <span class = "smallcaps">D:
+D: / Everardo Fawkener</span> Eq Aur / pro Mag: Brit: Rege ad Turc:
+Imper: / Legato. Elegant: Artium Moecena-/ti Munificentis: in sui
+Obsequii. Ar-/gumentum humill: D: D: / J:&nbsp;B: Jackson.</i>”</p>
+
+<p>Lower left:<br>
+“<i>Ex Tabella / a <span class = "smallcaps ital">Paulo Calliari</span>
+Veron<sup>s</sup>. / depicta penes J: <span class =
+"smallcaps">Smith</span> Ven / J:&nbsp;B: Jackson Del Sculp &amp; excud
+/ 1741.</i>”</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat29" id = "cat29" href = "#plate29">29.</a></p>
+
+<p><i>The Raising of Lazarus</i>, after Leandro Bassano
+<span class = "floatright">
+[Le Bl. 6, N. 7]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+23½ × 14⅞ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, light reddish gray, gray, dark cold brown.</p>
+
+<p>Inscription, upper left and right:<br>
+“<i>Ill:<sup>mo</sup> D:<sup>no</sup> D:<sup>no</sup> <span class =
+"smallcaps">Vincentio Riccardi</span>, Marchioni / Florentino,
+amplissimo Senatori, / amœnarum litterarum scientiarumq; excultori /
+peramantissimo, Tabellam hanc a / <span class =
+"smallcaps">Leandro</span> de <span class = "smallcaps">Ponte</span>
+colori-/bus expressam veluti exigu-/um obser-vantiæ suæ/specimen
+</i>D.&nbsp;D.&nbsp;D. / J&nbsp;B Jackson<i></i>”</p>
+
+<p>Center bottom:<br>
+“<i>J: B: Jackſon Del. Sculp. &amp;c. 1742.</i>”</p>
+</div>
+
+<span class = "pagenum">82</span>
+<a name = "page82" id = "page82"> </a>
+<!-- png 096 -->
+
+
+<p class = "number">
+<a name = "cat30" id = "cat30" href = "#plate30">30.</a></p>
+
+<p><i>Christ on the Mount of Olives</i>, after Jacopo Bassano
+<span class = "floatright">
+[Le Bl. 8, N. 6]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22 × 15⅛ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, medium brown, gray, dark brown.</p>
+
+<p>Inscription, bottom:<br>
+“Ill:<sup>mæ</sup> atq; Excell:<sup>mæ</sup> D:<sup>næ</sup>
+D:<sup>næ</sup> / <i>Paulinæ Contarenæ / <span class = "smallcaps
+ital">Nob: Venetæ</span>, aviti sanguinis ingenti splendore claræ, sed
+Virtutum nobilitate longe clariori, piissimum / hoc Christianæ Fidei
+monumentum, exiguum obsequentissimæ servitutis suæ signum, quod ex
+pictura / </i>Jacobi de Ponte<i> delineavit, et exſculpsit, generossimæ
+Patronæ, et Auspici dedicabat J:&nbsp;B: Jackson.</i><ins class =
+"correction" title = "duplicate periods in original">”.</ins></p>
+</div>
+
+<div class = "inline">
+<p>1743.</p>
+
+<p>A trial proof of the key block is in the Rosenwald Collection,
+National Gallery of Art.</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat31" id = "cat31" href = "#plate31">31.</a></p>
+
+<p><i>Melchisedech Blessing Abraham</i>, after Francesco Bassano
+<span class = "floatright">
+[Le Bl. 1, N. 19]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22½ × 15⅛ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, warm gray, brown, dark brown.</p>
+
+<p>Inscription, lower right:<br>
+“<i>Per-illustri D.<sup>no</sup> D.<sup>no</sup> / <span class =
+"smallcaps">Joanni Reade</span> / Tabellam hanc in obſe-/quentiſſimæ
+reverentiæ/specimen D.&nbsp;D.&nbsp;D. / J.&nbsp;B.&nbsp;Jackſon / ex
+Tabella penes / D.&nbsp;Jos<sup>h</sup> Smith.</i>”</p>
+</div>
+
+<p class = "inline">
+1743.</p>
+
+
+<p class = "number">
+<a name = "cat32" id = "cat32" href = "#plate32a">32.</a></p>
+
+<p><i>Dives and Lazarus</i> (The Rich Man and Lazarus), after Jacopo
+Bassano</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+22 × 15 inches (left sheet), 22 × 15 inches (right sheet).</p>
+
+<p>Blocks, 4:<br>
+Buff, light brown, light brownish gray, dark brownish gray.</p>
+
+<p>Inscription, lower left of left plate:<br>
+“<i>Per-illustri, ac Honorabili Viro / </i>D:<sup>no</sup>
+D:<sup>no</sup> <span class = "smallcaps">Roberto Hoblyn</span><i>, /
+Armigero, Magnæq; Britan-/niæ Consilii Conscripto Patri, / Artium,
+Scientiarumq; Cultori, / et Mæcenati, sui ergo obsequii / dicabat /
+</i>J.&nbsp;B.&nbsp;Jackſon<i>.</i>”</p>
+
+<span class = "pagenum">83</span>
+<a name = "page83" id = "page83"> </a>
+<!-- png 097 -->
+<p>Lower right of left plate:</p>
+
+<p>“<i>Ab Exemplari, Jacobi de Ponte, quod Venetiis penes /
+D.&nbsp;Joſeph Smith extat, exſcripſit qui dicabat. / J: Baſan
+P<sup>x</sup>.</i>”</p>
+</div>
+
+<p class = "inline">
+1743.</p>
+
+
+<p class = "number">
+<a name = "cat33" id = "cat33" href = "#plate33">33.</a></p>
+
+<p><i>Algernon Sidney</i>, after Justus Verus
+<span class = "floatright">
+[Le Bl. 20]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+13⅜ × 8¾ inches with letters, 8½ × 7½ inches (oval portrait only).</p>
+
+<p>Blocks, 4:<br>
+Tan, light brown, light gray, dark gray.</p>
+
+<p>Inscription, left and right under oval:<br>
+“<i>Zustus Verus, pinx: J: B: J: sculp; et exc:</i>”</p>
+
+<p>In rectangle at bottom:<br>
+“<i>At the Time when </i>M<sup>r</sup>. <span class =
+"smallcaps">Algernon Sidney</span><i> was </i>Ambaſſador<i><br>
+at that Court, Monſieur <span class = "smallcaps">Terlon</span> the
+</i>French<i> Ambaſſador,<br>
+had the Confidence to tear out of the Book of </i>Mottos<i><br>
+in the King’s Library, this Verse, which </i>M<sup>r</sup>.
+Sidney<i><br>
+(according to the Liberty allowed to all Noble Strangers)<br>
+had written in it:/</i><br>
+“Manus haec inimica Tyrannis<br>
+Enſe petit placidam sub Libertate quietem.<br>
+“<i>Though Monſieur </i>Terlon<i> underſtood not a word of<br>
+</i>Latin<i>, he was told by others the meaning of that Sen-<br>
+tence, which he considered as a </i>Libel<i> upon the </i>French<i><br>
+Government and upon ſuch as was then setting up in<br>
+</i>Denmark<i> by </i>French<i> Aſſistance </i>or Example<i>.</i>”</p>
+
+<p class = "right">
+Pref: to <i>Acco<sup>t</sup>. of Denmark</i> 4<sup>th</sup>
+<i>Edit:P:23.</i></p>
+</div>
+
+<div class = "inline">
+<p>Another version with light red in place of light gray (Philadelphia,
+which also has set of progressive proofs).</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum) Worcester, MFA, Fogg,
+Baltimore, MMA, NYPL, Philadelphia BM, Berlin-Dahlem, Brussels,
+Frankfurt, Hamburg</p>
+</div>
+
+<span class = "pagenum">84</span>
+<a name = "page84" id = "page84"> </a>
+<!-- png 098 -->
+
+
+<p class = "number">
+<a name = "cat34" id = "cat34" href = "#plate34">34.</a></p>
+
+<p><i>Antique Bust of Woman</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+14⅞ × 10½ inches (irregular oval).</p>
+
+<p>Blocks, 4:<br>
+Yellow-gray, greenish brown, gray-brown, brown.</p>
+
+<p class = "right">
+MFA</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat35" id = "cat35" href = "#plate35">35.</a></p>
+
+<p><i>Lovers</i> (facing right), perhaps after Piazzetta</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+15 × 10½ inches.</p>
+
+<p>Blocks, 5:<br>
+Light brownish gray, darker brownish gray, medium brown, cold gray, dark
+brown.</p>
+</div>
+
+<div class = "entry">
+<p>Attributed to Jackson.</p>
+
+<p class = "right">
+V&amp;A</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat36" id = "cat36" href = "#plate36">36.</a></p>
+
+<p><i>Lovers</i> (woman full face), perhaps after Piazzetta</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+15 × 10½ inches.</p>
+
+<p>Blocks, 5:<br>
+Light brownish gray, darker brownish gray, medium brown, cold gray, dark
+brown.</p>
+</div>
+
+<div class = "inline">
+<p>Companion piece to previous print. Attributed to Jackson.</p>
+
+<p class = "right">
+V&amp;A</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat37" id = "cat37" href = "#plate37">37.</a></p>
+
+<p><i>Lamentation Over the Body of Christ</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+20½ × 13¼ inches.</p>
+
+<p>Blocks, 5 or 6:<br>
+Blue, brown, red, flesh, gray.</p>
+
+<p>Inscription, bottom:<br>
+“<i>Et tuam ipſius animam pertranſibit gladius,</i>”</p>
+</div>
+
+<div class = "inline">
+<p>This is probably an experiment in color printing made by Jackson,
+after his own design, before attempting the Ricci set.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+<span class = "pagenum">85</span>
+<a name = "page85" id = "page85"> </a>
+<!-- png 099 -->
+
+
+<p class = "number">
+<a name = "cat38" id = "cat38" href = "#plate38">38.</a></p>
+
+<p><i>Heroic Landscape With Dedication and Classical Ruins</i>, after
+Marco Ricci
+<span class = "floatright">
+[Le Bl. 21-25, N.20-25a]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16⅜ × 23⅛ inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Tones of blue, buff, gray-violet, green and dark gray.</p>
+
+<p>Inscription in tablet at lower left:<br>
+“<i>Ill<sup>mo</sup>, atq; Excell<sup>mo</sup> D<sup>no</sup>
+D<sup>no</sup> / </i><span class = "smallcaps">Roberto D’Arcy</span>, /
+Comiti de Holderneſſe<i> &amp;c. &amp;c. &amp;c. / Apud Sereniſs Remp:
+Venetam pro Mag: / Britan· Rege Legato Extraordinario. / Hoc noviſſime
+excogitatum Opus in humillimi / obsequii teſtimonium dedicabat /
+</i>J.&nbsp;B.&nbsp;Jackſon<i>.</i>”.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p>A copy in the Museum of Fine Arts, Boston, has D’Arcy’s coat-of-arms
+on the entablature of the arch to the right with red and blue notes. The
+British Museum has a copy with brownish-red touched in with water colors
+in the clothing of the men under the arch.</p>
+
+<p>Reichel reproduced this in full size and color (plate 98).</p>
+
+<p class = "right">
+MFA, MMA, BM, Venice</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat39" id = "cat39" href = "#plate39">39.</a></p>
+
+<p><i>Heroic Landscape With Sheep, Statues, and Gentlemen</i>, after
+Marco Ricci
+<span class = "floatright">
+[Le Bl. 21-25, N. 20-25b]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16¾ × 23⅛ inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Colors vary in different impressions.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p class = "mynote">
+Lines “1744” and “Colors vary...” reversed in printed text.</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum), MFA, BM, Venice</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat40" id = "cat40" href = "#plate40">40.</a></p>
+
+<p><i>Heroic Landscape with Fisherman, Cows, and Horsemen</i>, after
+Marco Ricci
+<span class = "floatright">
+[Le Bl. 21-25, N. 20-25c]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16½ × 23 inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Colors vary in different impressions.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p class = "right">
+MFA, MMA, Worcester, BM, V&amp;A, Berlin-Dahlem, Venice, Brussels</p>
+</div>
+
+<span class = "pagenum">86</span>
+<a name = "page86" id = "page86"> </a>
+<!-- png 100 -->
+
+
+<p class = "number">
+<a name = "cat41" id = "cat41" href = "#plate41">41.</a></p>
+
+<p><i>Heroic Landscape with Cart and Goatherd, with S.&nbsp;Giorgio
+Maggiore in Background</i>, after Marco Ricci
+<span class = "floatright">
+[Le Bl. 21-25, N. 20-25d]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16½ × 23 inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Colors vary in different impressions.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p class = "right">
+MFA, BM, Venice, Dresden</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat42" id = "cat42" href = "#plate42">42.</a></p>
+
+<p><i>Heroic Landscape with Women at Brook, Child Fishing, and
+Herdsmen</i>, after Marco Ricci
+<span class = "floatright">
+[Le Bl. 21-25, N. 20-25e]</span></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16¾ × 23½ inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Colors vary in different impressions.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p>Reichel reproduced this in full size and color (plate 99).</p>
+
+<p class = "right">
+MMA, MFA, BM, Venice, Milan, Berlin-Dahlem</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat43" id = "cat43" href = "#plate43">43.</a></p>
+
+<p><i>Heroic Landscape with Watering Place, Riders, and Obelisk</i>,
+after Marco Ricci</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+16⅝ × 23¼ inches.</p>
+
+<p>Blocks, 7 to 10:<br>
+Colors vary in different impressions.</p>
+</div>
+
+<div class = "inline">
+<p>1744.</p>
+
+<p class = "right">
+MFA, MMA, BM, V&amp;A, Venice</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat44" id = "cat44" href = "#plate44">44.</a></p>
+
+<p><i>Battle near Parma</i>, after Francesco Simonini</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+20 × 40 inches (two joined sheets)</p>
+
+<p>Blocks, 7 or 8:<br>
+Buff, brown, light green, blue-green, light transparent red, deep red,
+dark gray.</p>
+</div>
+
+<div class = "inline">
+<p>1752.</p>
+
+<span class = "pagenum">87</span>
+<a name = "page87" id = "page87"> </a>
+<!-- png 101 -->
+<p>The only known copy is in the British Museum. Tone has darkened and
+paper is torn in parts. This print is described in the <i>Enquiry</i>.
+Jackson erroneously referred to this artist as “Simonnetta.”</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat45" id = "cat45" href = "#plate45">45.</a></p>
+
+<p><i>Ornamental Border with Fruit; Flowers, and Purple Grapes</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+6¼ × 25⅞ inches.</p>
+
+<p>Blocks, 4:<br>
+Red, blue, yellow, green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat46" id = "cat46" href = "#plate46">46.</a></p>
+
+<p><i>Ornamental Border with Fruit, Flowers, and Green Grapes</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+6⅜ × 25⅞ inches.</p>
+
+<p>Blocks, 4:<br>
+Red, blue, yellow and green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat47" id = "cat47" href = "#plate47">47.</a></p>
+
+<p><i>Ornamental Frame with Flowers and Fruit</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+24¾ × 18½ inches.</p>
+
+<p>Blocks, 4:<br>
+Red, blue, yellow, gray-green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat48" id = "cat48" href = "#plate48">48.</a></p>
+
+<p><i>Ornamental Frame with Fruit</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+25⅛ × 17¼ inches.</p>
+
+<p>Blocks, 4:<br>
+Red, blue, yellow, gray-green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+<span class = "pagenum">88</span>
+<a name = "page88" id = "page88"> </a>
+<!-- png 102 -->
+
+
+<p class = "number">
+<a name = "cat49" id = "cat49" href = "#plate49">49.</a></p>
+
+<p><i>Ornamental Frame with Flowers and Girl’s Head</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+26 × 18½ inches.</p>
+
+<p>Blocks, 4:<br>
+Red, blue, yellow, green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. Central figure is described under
+<a href = "#cat59">No. 59</a>.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat50" id = "cat50" href = "#plate50">50.</a></p>
+
+<p><i>Dancing Nymph with Bow and Arrows</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11⅛ × 6⅜ inches.</p>
+
+<p>Blocks, 2:<br>
+Olive green, black.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. Probably cut by Jackson as a guide for his
+workshop. See <a href = "#cat_workshop">Nos. 59-74</a>.</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum)</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat51" id = "cat51" href = "#plate51">51.</a></p>
+
+<p><i>Bust of Democritus</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches (sheet size).</p>
+
+<p>Blocks, 4:<br>
+Buff, light gray, medium gray, dark gray.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>An Essay on the Invention of Engraving and
+Printing in Chiaro Oscuro</i>, 1754.</p>
+
+
+<p class = "number">
+<a name = "cat52" id = "cat52" href = "#plate52">52.</a></p>
+
+<p><i>The Lion</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 6:<br>
+Yellow, red, light green, blue-gray, light gray, dark gray-green.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754. This subject was copied from
+plate 34 of Giorgio Fossati, <i>Raccolta di varie favole</i>, Venice,
+1744.</p>
+
+<span class = "pagenum">89</span>
+<a name = "page89" id = "page89"> </a>
+<!-- png 103 -->
+
+
+<p class = "number">
+<a name = "cat53" id = "cat53" href = "#plate53">53.</a></p>
+
+<p><i>Building and Vegetable</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 6:<br>
+Yellow, light green, light red, crimson, light gray, dark gray.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+
+<p class = "number">
+<a name = "cat54" id = "cat54" href = "#plate54">54.</a></p>
+
+<p><i>Statue of Apollo</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 4:<br>
+Light buff, medium buff, gray, and dark gray.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+
+<p class = "number">
+<a name = "cat55" id = "cat55" href = "#plate55">55.</a></p>
+
+<p><i>The Farnese Hercules</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, greenish buff, gray, dark greenish gray.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+
+<p class = "number">
+<a name = "cat56" id = "cat56" href = "#plate56">56.</a></p>
+
+<p><i>Antique Bust of a Man</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 4:<br>
+Buff, gray-brown, gray, dark greenish gray.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+<span class = "pagenum">90</span>
+<a name = "page90" id = "page90"> </a>
+<!-- png 104 -->
+
+
+<p class = "number">
+<a name = "cat57" id = "cat57" href = "#plate57">57.</a></p>
+
+<p><i>Pheasant and Garden Urn</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 7:<br>
+Yellow, light green, warm gray, blue-gray, light red, crimson, dark
+gray-green.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+
+<p class = "number">
+<a name = "cat58" id = "cat58" href = "#plate58">58.</a></p>
+
+<p><i>Ruin of Garden Temple</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+9¼ × 7½ inches.</p>
+
+<p>Blocks, 7:<br>
+Yellow, light green, warm gray, cold gray, light red, crimson, dark
+gray-green.</p>
+</div>
+
+<p class = "inline">
+Plate from Jackson, <i>Essay</i>..., 1754.</p>
+
+</div> <!-- catalog -->
+
+<h4 class = "ital"><a name = "cat_workshop" id = "cat_workshop">
+Jackson’s Workshop</a></h4>
+
+<div class = "catalog">
+
+
+<p class = "number">
+<a name = "cat59" id = "cat59" href = "#plate59">59.</a></p>
+
+<p><i>Woman Standing Holding Apron</i>, after S.&nbsp;Le Clerc</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches (sheet size).</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. This figure appears in the center of the
+ornamental frame, <a href = "#cat49">No. 49</a> in this catalog, in the
+British Museum impression. After a plate in the series of etchings by
+Sébastien Le Clerc, <i>Les Figures à la mode</i>, 1685. The figure is
+reversed.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+<span class = "pagenum">91</span>
+<a name = "page91" id = "page91"> </a>
+<!-- png 105 -->
+
+
+<p class = "number">
+<a name = "cat60" id = "cat60" href = "#plate60">60.</a></p>
+
+<p><i>Female Statue with Fruit and Wheat</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat61" id = "cat61" href = "#plate61">61.</a></p>
+
+<p><i>Female Statue with Mask</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat62" id = "cat62" href = "#plate62">62.</a></p>
+
+<p><i>Queen with Armor and Model of Building</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. In the style of Villamena.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat63" id = "cat63" href = "#plate63">63.</a></p>
+
+<p><i>Apollo with Lyre</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Green and black. Also deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Smithsonian Institution (U.S. National Museum), Philadelphia</p>
+</div>
+
+<span class = "pagenum">92</span>
+<a name = "page92" id = "page92"> </a>
+<!-- png 106 -->
+
+
+<p class = "number">
+<a name = "cat64" id = "cat64" href = "#plate64">64.</a></p>
+
+<p><i>Woman with Shepherd’s Pipe</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat65" id = "cat65" href = "#plate65">65.</a></p>
+
+<p><i>Woman with Sheet of Music and Horn</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green. Also red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat66" id = "cat66" href = "#plate66">66.</a></p>
+
+<p><i>Woman with Pitcher and Apron</i>, after S.&nbsp;Le Clerc</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, <i>Les Figures à la mode</i>, 1685. The figure is
+reversed.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat67" id = "cat67" href = "#plate67">67.</a></p>
+
+<p><i>Old Woman Standing</i>, after S. Le Clerc</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, <i>Les Figures à la mode</i>, 1685. The figure is
+reversed.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+<span class = "pagenum">93</span>
+<a name = "page93" id = "page93"> </a>
+<!-- png 107 -->
+
+
+<p class = "number">
+<a name = "cat68" id = "cat68" href = "#plate68">68.</a></p>
+
+<p><i>Lady with Staff</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat69" id = "cat69" href = "#plate69">69.</a></p>
+
+<p><i>Woman with Fruit and Basket</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green. Also red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. In the style of Villamena.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat70" id = "cat70" href = "#plate70">70.</a></p>
+
+<p><i>Woman with Branches and Incense Burner</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and pale green. Also red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. In the style of Villamena.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat71" id = "cat71" href = "#plate71">71.</a></p>
+
+<p><i>Woman with Flowers and Vines</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Red and green. Also red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. In the style of Villamena.</p>
+
+<p class = "right">
+BM</p>
+</div>
+
+<span class = "pagenum">94</span>
+<a name = "page94" id = "page94"> </a>
+<!-- png 108 -->
+
+
+<p class = "number">
+<a name = "cat72" id = "cat72" href = "#plate72">72.</a></p>
+
+<p><i>Standing Woman, Head Turned to Right</i>, after Watteau</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11 × 5 inches.</p>
+
+<p>Blocks, 2:<br>
+Green and black.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. After Boucher’s etching after a drawing by
+Watteau (plate 216 in Jean de Julienne’s compilation of Watteau’s work,
+<i>Figures de différents caractères</i>, ca. 1740).</p>
+
+<p class = "right">
+MMA, Philadelphia, BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat73" id = "cat73" href = "#plate73">73.</a></p>
+
+<p><i>Lady with Fan</i>, after S. Le Clerc</p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11 × 4½ inches.</p>
+
+<p>Blocks, 2:<br>
+Green and black.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper. After a plate in the series of 24 etchings by
+Sébastien Le Clerc, <i>Les Figures à la mode</i>, 1685. The figure is
+reversed and the fan has been shifted to the upper hand.</p>
+
+<p class = "right">
+MMA</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat74" id = "cat74" href = "#plate74">74.</a></p>
+
+<p><i>Classical Female Statue</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+11¼ × 6½ inches.</p>
+
+<p>Blocks, 2:<br>
+Deep red and yellow.</p>
+</div>
+
+<div class = "inline">
+<p>Print for wallpaper.</p>
+
+<p class = "right">
+Philadelphia, MMA</p>
+</div>
+
+<span class = "pagenum">95</span>
+<a name = "page95" id = "page95"> </a>
+<!-- png 109 -->
+
+
+<p class = "number">
+<a name = "cat75" id = "cat75" href = "#plate75">75.</a></p>
+
+<p><i>Boy Looking Down</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+3 × 2 inches.</p>
+
+<p>Blocks, 2:<br>
+Light brown and black.</p>
+</div>
+
+<div class = "inline">
+<p>Perhaps after Piazzetta.</p>
+
+<p class = "right">
+MFA, BM</p>
+</div>
+
+
+<p class = "number">
+<a name = "cat76" id = "cat76" href = "#plate76">76.</a></p>
+
+<p><i>Lady with a Flower</i></p>
+
+<div class = "entry">
+
+<p>Dimensions:<br>
+14⅜ × 11¼ inches.</p>
+
+<p>Blocks, 3:<br>
+Buff, light brown, brown.</p>
+</div>
+
+<div class = "inline">
+<p>Possibly after Kneller. Very weak and crude.</p>
+
+<p class = "right">
+BM, V&amp;A</p>
+</div>
+
+</div> <!-- catalog -->
+
+<h4 class = "ital"><a name = "cat_unver" id = "cat_unver">
+Unverified Subjects</a></h4>
+
+<div class = "catalog">
+
+<p class = "number">77.</p>
+
+<p><i>The Annunciation</i>, after Parmigianino</p>
+
+<div class = "entry">
+<p>Dimensions:<br>
+6¾ × 4⅝ inches.</p>
+
+<p>Blocks, 3:<br>
+Tones of brown.</p>
+</div>
+
+<p class = "inline">
+This is listed as Jackson’s in Gutekunst &amp; Klipstein’s catalogue 40,
+1938. It is described as having “the initials and an engraved letter
+border,” but whether the initials are Jackson’s or Parmigianino’s is
+uncertain.</p>
+
+<span class = "pagenum">96</span>
+<a name = "page96" id = "page96"> </a>
+<!-- png 110 -->
+
+
+<p class = "number">78.</p>
+
+<p><i>St. Peter and St. Paul Surprised by the Executioner</i>, after
+Titian
+<span class = "floatright">
+[Le Bl. 17, N. 16]</span></p>
+
+<p class = "inline">
+Le Blanc and Nagler list this print in addition to <i>St. Peter
+Martyr</i>, but most likely it is the same subject. The title might have
+been taken from a museum catalogue which listed the identical print
+under a different title.</p>
+
+<p class = "number">79.</p>
+
+<p><i>The Entombment</i>, after Titian
+<span class = "floatright">
+[Le Bl. 11]</span></p>
+
+<p class = "inline">
+This is included in Le Blanc (<i>J. C. mis au tombeau</i>) but it seems
+likely that it was confused with Bassano’s identically titled
+subject.</p>
+
+
+<p class = "number">80.</p>
+
+<p><i>Giovanni Gastro I De Medici</i></p>
+
+<p class = "inline">
+This is listed as a Jackson print in Berlin-Dahlem but has not been
+located.</p>
+
+<p class = "number">81.</p>
+
+<p><i>Elisabeth, Duchess of Hamilton, as a Shepherdess</i></p>
+
+<p class = "inline">
+This is catalogued as a Jackson print in the Dresden Kunstsammlungen but
+was lost in the war.</p>
+
+</div> <!-- catalog -->
+
+
+<a name = "page97" id = "page97"> </a>
+<!-- png 111 -->
+<h2 class = "chapter"><a name = "chiaro" id = "chiaro">
+The <i>Chiaroscuros</i><br>
+and <i>Color Woodcuts</i> of<br>
+John Baptist Jackson</a></h2>
+
+
+<a name = "page98" id = "page98"> </a>
+<!-- png 112 -->
+
+<p class = "mynote">
+As noted at the beginning of the text, all Plates are shown here in
+numerical order, with the color plates grouped together.</p>
+
+
+<span class = "pagenum">99</span>
+<a name = "page99" id = "page99"> </a>
+<!-- png 113 -->
+
+<a name = "plate1" id = "plate1">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate1.jpg" width = "444" height = "330"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat1">1.</a>
+<span class = "smallcaps">Christ Giving the Keys to St. Peter</span>,
+after Raphael<br>
+(See also <a href = "#colorplate1">color plate</a>)</p>
+
+<span class = "pagenum">100</span>
+<a name = "page100" id = "page100"> </a>
+<!-- png 114 -->
+
+<a name = "plate2" id = "plate2">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate2.jpg" width = "341" height = "528"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat2">2.</a>
+<span class = "smallcaps">Venus and Cupid With a Bow</span>, after
+Parmigianino<br>
+(See also <a href = "#colorplate2">color plate</a>)</p>
+
+<span class = "pagenum">101</span>
+<a name = "page101" id = "page101"> </a>
+<!-- png 115 -->
+
+<a name = "plate3" id = "plate3">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate3.jpg" width = "293" height = "542"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat3">3.</a>
+<span class = "smallcaps">Woman Standing Holding Jar on Her Head</span>,
+after Parmigianino</p>
+
+<span class = "pagenum">102</span>
+<a name = "page102" id = "page102"> </a>
+<!-- png 116 -->
+
+<a name = "plate5" id = "plate5">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate5.jpg" width = "328" height = "540"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat5">5.</a>
+<span class = "smallcaps">Woman Meditating</span> (<span class =
+"smallcaps">St. Thais?</span>), after etching by Parmigianino<br>
+(See also <a href = "#colorplate5">color plate</a>)</p>
+
+
+<span class = "pagenum">104</span>
+<a name = "page104" id = "page104"> </a>
+<!-- png 118 -->
+
+<a name = "plate6" id = "plate6">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate6.jpg" width = "448" height = "341"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat6">6.</a>
+<span class = "smallcaps">Ulysses and Polyphemus</span>, after
+Primaticcio</p>
+
+
+<span class = "pagenum">103</span>
+<a name = "page103" id = "page103"> </a>
+<!-- png 117 -->
+
+<a name = "plate7" id = "plate7">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate7.jpg" width = "483" height = "330"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat7">7.</a>
+<span class = "smallcaps">Bookplate</span></p>
+
+
+<span class = "pagenum">105</span>
+<a name = "page105" id = "page105"> </a>
+<!-- png 119 -->
+
+<a name = "plate8" id = "plate8">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate8.jpg" width = "484" height = "400"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat8">8.</a>
+<span class = "smallcaps">Judgment of Solomon</span>, after Rubens</p>
+
+<span class = "pagenum">106</span>
+<a name = "page106" id = "page106"> </a>
+<!-- png 120 -->
+
+<a name = "plate9" id = "plate9">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate9.jpg" width = "382" height = "530"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat9">9.</a>
+<span class = "smallcaps">The Visitation</span>, after Annibale
+Carracci</p>
+
+<span class = "pagenum">107</span>
+<a name = "page107" id = "page107"> </a>
+<!-- png 121 -->
+
+<a name = "plate10" id = "plate10">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate10.jpg" width = "431" height = "536"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat10">10.</a>
+<span class = "smallcaps">Julius Caesar</span>, after Titian</p>
+
+<span class = "pagenum">108</span>
+<a name = "page108" id = "page108"> </a>
+<!-- png 122 -->
+
+<a name = "plate11" id = "plate11">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate11.jpg" width = "434" height = "533"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat11">11.</a>
+<span class = "smallcaps">St. Rocco</span>, after Cherubino Alberti</p>
+
+<span class = "pagenum">109</span>
+<a name = "page109" id = "page109"> </a>
+<!-- png 123 -->
+
+<a name = "plate12" id = "plate12">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate12.jpg" width = "351" height = "534"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat12">12.</a>
+<span class = "smallcaps">Statuette of Neptune</span>, after Giovanni da
+Bologna</p>
+
+
+<span class = "pagenum">112</span>
+<a name = "page112" id = "page112"> </a>
+<!-- png 126 -->
+
+<a name = "plate13" id = "plate13">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate13.jpg" width = "342" height = "532"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat13">13.</a>
+<span class = "smallcaps">Descent From the Cross</span>, after
+Rembrandt<br>
+(See also <a href = "#colorplate13">color plate</a>)</p>
+
+
+<span class = "pagenum">110</span>
+<a name = "page110" id = "page110"> </a>
+<!-- png 124 -->
+
+<a name = "plate14" id = "plate14">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate14.jpg" width = "449" height = "334"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat14">14.</a>
+<span class = "smallcaps">Christ and the Woman of Samaria</span></p>
+
+<span class = "pagenum">111</span>
+<a name = "page111" id = "page111"> </a>
+<!-- png 125 -->
+
+<a name = "plate15" id = "plate15">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate15.jpg" width = "448" height = "164"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat15">15.</a>
+<span class = "smallcaps">Romulus and Remus, Wolf, and Sea
+God</span></p>
+
+
+<span class = "pagenum">113</span>
+<a name = "page113" id = "page113"> </a>
+<!-- png 127 -->
+
+<a name = "plate16" id = "plate16">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate16.jpg" width = "340" height = "532"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat16">16.</a>
+<span class = "smallcaps">The Death of St. Peter Martyr</span>, after
+Titian</p>
+
+<span class = "pagenum">114</span>
+<a name = "page114" id = "page114"> </a>
+<!-- png 128 -->
+
+<a name = "plate17" id = "plate17">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate17.jpg" width = "378" height = "520"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat17">17.</a>
+<span class = "smallcaps">The Presentation in the Temple (The
+Circumcision)</span>, after Veronese</p>
+
+<span class = "pagenum">115</span>
+<a name = "page115" id = "page115"> </a>
+<!-- png 129 -->
+
+<a name = "plate18" id = "plate18">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate18.jpg" width = "453" height = "350"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat18">18.</a>
+<span class = "smallcaps">The Massacre of the Innocents</span>, after
+Tintoretto</p>
+
+
+<span class = "pagenum">118</span>
+<a name = "page118" id = "page118"> </a>
+<!-- png 134 -->
+
+<a name = "plate19" id = "plate19">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate19.jpg" width = "395" height = "555"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat19">19.</a>
+<span class = "smallcaps">The Entombment</span>, after Jacopo
+Bassano</p>
+
+<span class = "pagenum">119</span>
+<a name = "page119" id = "page119"> </a>
+<!-- png 135 -->
+
+<a name = "plate20" id = "plate20">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate20.jpg" width = "356" height = "562"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat20">20.</a>
+<span class = "smallcaps">Holy Family and Four Saints</span>, after
+Veronese</p>
+
+<span class = "pagenum">120</span>
+<a name = "page120" id = "page120"> </a>
+<!-- png 136 -->
+
+<a name = "plate21" id = "plate21">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate21.jpg" width = "401" height = "565"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat21">21.</a>
+<span class = "smallcaps">The Mystic Marriage of St. Catherine</span>,
+after Veronese</p>
+
+
+<!-- png 130 -->
+
+<span class = "pagenum plus">116</span>
+<a name = "page116" id = "page116"> </a>
+<!-- png 131 -->
+
+<a name = "plate22a" id = "plate22a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate22a.jpg" width = "414" height = "533"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion, after Tintoretto</span>, left
+sheet<br>
+(See also <a href = "#colorplate22a">color plates</a>)</p>
+
+<span class = "pagenum">116</span>
+<!-- png 132 -->
+
+<a name = "plate22b" id = "plate22b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate22b.jpg" width = "412" height = "562"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion</span>, after Tintoretto,
+center sheet<br>
+(See also <a href = "#colorplate22b">color plates</a>)</p>
+
+<span class = "pagenum">117</span>
+<a name = "page117" id = "page117"> </a>
+<!-- png 133 -->
+
+<a name = "plate22c" id = "plate22c">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate22c.jpg" width = "415" height = "532"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion</span>, after Tintoretto,
+right sheet<br>
+(See also <a href = "#colorplate22c">color plates</a>)</p>
+
+
+<span class = "pagenum">122</span>
+<a name = "page122" id = "page122"> </a>
+<!-- png 138 -->
+
+<a name = "plate23a" id = "plate23a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate23a.jpg" width = "428" height = "537"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat23">23.</a>
+<span class = "smallcaps">Miracle of St. Mark</span>, after Tintoretto,
+left sheet</p>
+
+<span class = "pagenum">123</span>
+<a name = "page123" id = "page123"> </a>
+<!-- png 139 -->
+
+<a name = "plate23b" id = "plate23b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate23b.jpg" width = "431" height = "536"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat23">23.</a>
+<span class = "smallcaps">Miracle of St. Mark</span>, after Tintoretto,
+right sheet</p>
+
+
+<a name = "plate23_all" id = "plate23_all">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate23_all.jpg" width = "578" height = "359"
+alt = "see caption"></p>
+
+<p class = "platename added">
+<span class = "smallcaps">Miracle of St. Mark</span>, combined view.<br>
+<a href = "images/plate23_merge.jpg" target = "_blank">Merged view</a>,
+using shading in original.</p>
+
+
+<span class = "pagenum">124</span>
+<a name = "page124" id = "page124"> </a>
+<!-- png 140 -->
+
+<a name = "plate24a" id = "plate24a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate24a.jpg" width = "415" height = "563"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat24">24.</a>
+<span class = "smallcaps">The Marriage at Cana</span>, after Veronese,
+left sheet</p>
+
+<span class = "pagenum">125</span>
+<a name = "page125" id = "page125"> </a>
+<!-- png 141 -->
+
+<a name = "plate24b" id = "plate24b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate24b.jpg" width = "416" height = "560"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat24">24.</a>
+<span class = "smallcaps">The Marriage at Cana</span>, after Veronese,
+right sheet</p>
+
+<a name = "plate24_all" id = "plate24_all">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate24_all.jpg" width = "501" height = "338"
+alt = "see caption"></p>
+
+<p class = "platename added">
+<span class = "smallcaps">The Marriage at Cana</span>, combined
+view.<br>
+The identification of Plates 24 (left) and 24 (right) is as in the
+original text. They have been reversed for the combined version.</p>
+
+
+<!-- png 152 -->
+
+<span class = "pagenum plus">136</span>
+<a name = "page136" id = "page136"> </a>
+<!-- png 153 -->
+
+<a name = "plate25a" id = "plate25a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate25a.jpg" width = "385" height = "536"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat25">25.</a>
+<span class = "smallcaps">Presentation of the Virgin in the
+Temple</span>, after Titian, left sheet</p>
+
+<span class = "pagenum">136</span>
+<!-- png 154 -->
+
+<a name = "plate25b" id = "plate25b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate25b.jpg" width = "437" height = "533"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat25">25.</a>
+<span class = "smallcaps">Presentation of the Virgin in the
+Temple</span>, after Titian, center sheet</p>
+
+<span class = "pagenum">137</span>
+<a name = "page137" id = "page137"> </a>
+<!-- png 155 -->
+
+<a name = "plate25c" id = "plate25c">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate25c.jpg" width = "425" height = "533"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat25">25.</a>
+<span class = "smallcaps">Presentation of the Virgin in the
+Temple</span>, after Titian, right sheet</p>
+
+
+<a name = "plate25_all" id = "plate25_all">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate25_all.jpg" width = "626" height = "268"
+alt = "see caption"></p>
+
+<p class = "platename added">
+<span class = "smallcaps">Presentation of the Virgin in the
+Temple</span>, combined view.</p>
+
+
+<span class = "pagenum">121</span>
+<a name = "page121" id = "page121"> </a>
+<!-- png 137 -->
+
+<a name = "plate26" id = "plate26">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate26.jpg" width = "367" height = "566"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat26">26.</a>
+<span class = "smallcaps">The Virgin in the Clouds and Six
+Saints</span>, after Titian</p>
+
+
+<span class = "pagenum">126</span>
+<a name = "page126" id = "page126"> </a>
+<!-- png 142 -->
+
+<a name = "plate27" id = "plate27">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate27.jpg" width = "376" height = "543"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat27">27.</a>
+<span class = "smallcaps">The Descent of the Holy Spirit</span>, after
+Titian</p>
+
+<span class = "pagenum">127</span>
+<a name = "page127" id = "page127"> </a>
+<!-- png 143 -->
+
+<a name = "plate28" id = "plate28">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate28.jpg" width = "375" height = "541"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat28">28.</a>
+<span class = "smallcaps">The Finding of Moses</span>, after
+Veronese</p>
+
+<span class = "pagenum">128</span>
+<a name = "page128" id = "page128"> </a>
+<!-- png 144 -->
+
+<a name = "plate29" id = "plate29">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate29.jpg" width = "345" height = "540"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat29">29.</a>
+<span class = "smallcaps">The Raising of Lazarus</span>, after Leandro
+Bassano</p>
+
+
+<span class = "pagenum">132</span>
+<a name = "page132" id = "page132"> </a>
+<!-- png 148 -->
+
+<a name = "plate30" id = "plate30">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate30.jpg" width = "384" height = "551"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat30">30.</a>
+<span class = "smallcaps">Christ on the Mount of Olives</span>, after
+Jacopo Bassano</p>
+
+
+<span class = "pagenum">129</span>
+<a name = "page129" id = "page129"> </a>
+<!-- png 145 -->
+
+<a name = "plate31" id = "plate31">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate31.jpg" width = "356" height = "531"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat31">31.</a>
+<span class = "smallcaps">Melchisedech Blessing Abraham</span>, after
+Francesco Bassano</p>
+
+<span class = "pagenum">130</span>
+<a name = "page130" id = "page130"> </a>
+<!-- png 146 -->
+
+<a name = "plate32a" id = "plate32a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate32a.jpg" width = "346" height = "506"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat32">32.</a>
+<span class = "smallcaps">Dives and Lazarus (The Rich Man and
+Lazarus)</span>, after Jacopo Bassano, left sheet</p>
+
+<span class = "pagenum">131</span>
+<a name = "page131" id = "page131"> </a>
+<!-- png 147 -->
+
+<a name = "plate32b" id = "plate32b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate32b.jpg" width = "346" height = "506"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat32">32.</a>
+<span class = "smallcaps">Dives and Lazarus (The Rich Man and
+Lazarus)</span>, after Jacopo Bassano, right sheet</p>
+
+
+<a name = "plate32_all" id = "plate32_all">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate32_all.jpg" width = "539" height = "380"
+alt = "see caption"></p>
+
+<p class = "platename added">
+<span class = "smallcaps">Dives and Lazarus</span>, combined view.</p>
+
+
+<span class = "pagenum">134</span>
+<a name = "page134" id = "page134"> </a>
+<!-- png 150 -->
+
+<a name = "plate33" id = "plate33">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate33.jpg" width = "352" height = "531"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat33">33.</a>
+<span class = "smallcaps">Algernon Sidney</span>, after Justus Verus</p>
+
+<span class = "pagenum">135</span>
+<a name = "page135" id = "page135"> </a>
+<!-- png 151 -->
+
+<a name = "plate34" id = "plate34">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate34.jpg" width = "410" height = "550"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat34">34.</a>
+<span class = "smallcaps">Antique Bust of Woman</span></p>
+
+
+<span class = "pagenum">138</span>
+<a name = "page138" id = "page138"> </a>
+<!-- png 156 -->
+
+<a name = "plate35" id = "plate35">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate35.jpg" width = "395" height = "554"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat35">35.</a>
+<span class = "smallcaps">Lovers</span> (facing right), perhaps after
+Piazzetta</p>
+
+<span class = "pagenum">139</span>
+<a name = "page139" id = "page139"> </a>
+<!-- png 157 -->
+
+<a name = "plate36" id = "plate36">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate36.jpg" width = "394" height = "556"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat36">36.</a>
+<span class = "smallcaps">Lovers</span> (woman full face), perhaps after
+Piazzetta</p>
+
+
+<span class = "pagenum">133</span>
+<a name = "page133" id = "page133"> </a>
+<!-- png 149 -->
+
+<a name = "plate37" id = "plate37">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate37.jpg" width = "376" height = "540"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat37">37.</a>
+<span class = "smallcaps">Lamentation Over the Body of Christ</span></p>
+
+
+<span class = "pagenum">140</span>
+<a name = "page140" id = "page140"> </a>
+<!-- png 158 -->
+
+<a name = "plate38" id = "plate38">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate38.jpg" width = "452" height = "327"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat38">38.</a>
+<span class = "smallcaps">Heroic Landscape With Dedication and Classical
+Ruins</span>, after Marco Ricci</p>
+
+<span class = "pagenum">141</span>
+<a name = "page141" id = "page141"> </a>
+<!-- png 159 -->
+
+<a name = "plate39" id = "plate39">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate39.jpg" width = "446" height = "330"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat39">39.</a>
+<span class = "smallcaps">Heroic Landscape With Sheep, Statues, and
+Gentlemen</span>, after Marco Ricci</p>
+
+<span class = "pagenum">142</span>
+<a name = "page142" id = "page142"> </a>
+<!-- png 160 -->
+
+<a name = "plate40" id = "plate40">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate40.jpg" width = "456" height = "331"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat40">40.</a>
+<span class = "smallcaps">Heroic Landscape With Fisherman, Cows, and
+Horsemen</span>, after Marco Ricci<br>
+(See also <a href = "#colorplate40">color plates</a>)</p>
+
+<span class = "pagenum">143</span>
+<a name = "page143" id = "page143"> </a>
+<!-- png 161 -->
+
+<a name = "plate41" id = "plate41">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate41.jpg" width = "464" height = "334"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat41">41.</a>
+<span class = "smallcaps">Heroic Landscape With Cart and Goatherd, and
+With S.&nbsp;Giorgio Maggiore in Background</span>, after Marco
+Ricci</p>
+
+<span class = "pagenum">144</span>
+<a name = "page144" id = "page144"> </a>
+<!-- png 162 -->
+
+<a name = "plate42" id = "plate42">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate42.jpg" width = "475" height = "334"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat42">42.</a>
+<span class = "smallcaps">Heroic Landscape With Women at Brook, Child
+Fishing and Herdsmen</span>, after Marco Ricci</p>
+
+<span class = "pagenum">145</span>
+<a name = "page145" id = "page145"> </a>
+<!-- png 163 -->
+
+<a name = "plate43" id = "plate43">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate43.jpg" width = "471" height = "331"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat43">43.</a>
+<span class = "smallcaps">Heroic Landscape With Watering Place, Riders
+and Obelisk</span>, after Marco Ricci<br>
+(See also <a href = "#colorplate43">color plate</a>)</p>
+
+<span class = "pagenum">146</span>
+<a name = "page146" id = "page146"> </a>
+<!-- png 164 -->
+
+<a name = "plate44" id = "plate44">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate44.jpg" width = "470" height = "229"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat44">44.</a>
+<span class = "smallcaps">Battle Near Parma</span>, after Francesco
+Simonini</p>
+
+<p class = "platename added">
+<a href = "images/plate44_large.jpg" target = "_blank">Enlarged
+view.</a></p>
+
+
+<span class = "pagenum">147</span>
+<a name = "page147" id = "page147"> </a>
+<!-- png 165 -->
+
+<a name = "plate44d" id = "plate44d">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate44d.jpg" width = "485" height = "372"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat44">44.</a>
+<span class = "smallcaps">Battle Near Parma</span>, after Francesco
+Simonini, detail</p>
+
+<span class = "pagenum">148</span>
+<a name = "page148" id = "page148"> </a>
+<!-- png 166 -->
+
+<a name = "plate45" id = "plate45">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate45.jpg" width = "442" height = "106"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat45">45.</a>
+<span class = "smallcaps">Ornamental Border With Fruit, Flowers and
+Purple Grapes</span></p>
+
+<a name = "plate46" id = "plate46">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate46.jpg" width = "440" height = "108"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat46">46.</a>
+<span class = "smallcaps">Ornamental Border With Fruit, Flowers, and
+Green Grapes</span></p>
+
+<span class = "pagenum">149</span>
+<a name = "page149" id = "page149"> </a>
+<!-- png 167 -->
+
+<a name = "plate47" id = "plate47">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate47.jpg" width = "376" height = "539"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat47">47.</a>
+<span class = "smallcaps">Ornamental Frame With Flowers and
+Fruit</span></p>
+
+<span class = "pagenum">150</span>
+<a name = "page150" id = "page150"> </a>
+<!-- png 168 -->
+
+<a name = "plate48" id = "plate48">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate48.jpg" width = "379" height = "545"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat48">48.</a>
+<span class = "smallcaps">Ornamental Frame With Fruit</span></p>
+
+
+<span class = "pagenum">151</span>
+<a name = "page151" id = "page151"> </a>
+<!-- png 169 -->
+
+<a name = "plate49" id = "plate49">&nbsp;</a>
+<a name = "plate59" id = "plate59">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate49.jpg" width = "378" height = "542"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat49">49.</a>
+<span class = "smallcaps">Ornamental Frame With Flowers and Girl’s
+Head</span><br>
+(See also <a href = "#colorplate49">color plate</a>)</p>
+
+<p class = "platename">
+<a href = "#cat59">59.</a>
+<span class = "smallcaps">Woman Standing Holding Apron</span>, after
+S.&nbsp;Le Clerc</p>
+
+
+<span class = "pagenum">152</span>
+<a name = "page152" id = "page152"> </a>
+<!-- png 170 -->
+
+<a name = "plate50" id = "plate50">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate50.jpg" width = "303" height = "519"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat50">50.</a>
+<span class = "smallcaps">Dancing Nymph With Bow and Arrows</span></p>
+
+<span class = "pagenum">153</span>
+<a name = "page153" id = "page153"> </a>
+<!-- png 171 -->
+
+<a name = "plate51" id = "plate51">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate51.jpg" width = "372" height = "527"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat51">51.</a>
+<span class = "smallcaps">Bust of Democritus</span></p>
+
+<span class = "pagenum">154</span>
+<a name = "page154" id = "page154"> </a>
+<!-- png 172 -->
+
+<a name = "plate52" id = "plate52">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate52.jpg" width = "387" height = "532"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat52">52.</a>
+<span class = "smallcaps">The Lion</span></p>
+
+<span class = "pagenum">155</span>
+<a name = "page155" id = "page155"> </a>
+<!-- png 173 -->
+
+<a name = "plate53" id = "plate53">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate53.jpg" width = "384" height = "527"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat53">53.</a>
+<span class = "smallcaps">Building and Vegetable</span><br>
+(See also <a href = "#colorplate53">color plate</a>)</p>
+
+<span class = "pagenum">156</span>
+<a name = "page156" id = "page156"> </a>
+<!-- png 174 -->
+
+<a name = "plate54" id = "plate54">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate54.jpg" width = "348" height = "522"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat54">54.</a>
+<span class = "smallcaps">Statue of Apollo</span></p>
+
+<span class = "pagenum">157</span>
+<a name = "page157" id = "page157"> </a>
+<!-- png 175 -->
+
+<a name = "plate55" id = "plate55">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate55.jpg" width = "285" height = "535"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat55">55.</a>
+<span class = "smallcaps">The Farnese Hercules</span></p>
+
+<span class = "pagenum">158</span>
+<a name = "page158" id = "page158"> </a>
+<!-- png 176 -->
+
+<a name = "plate56" id = "plate56">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate56.jpg" width = "339" height = "519"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat56">56.</a>
+<span class = "smallcaps">Antique Bust of a Man</span></p>
+
+<span class = "pagenum">159</span>
+<a name = "page159" id = "page159"> </a>
+<!-- png 177 -->
+
+<a name = "plate57" id = "plate57">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate57.jpg" width = "392" height = "534"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat57">57.</a>
+<span class = "smallcaps">Pheasant and Garden Urn</span></p>
+
+<span class = "pagenum">160</span>
+<a name = "page160" id = "page160"> </a>
+<!-- png 178 -->
+
+<a name = "plate58" id = "plate58">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate58.jpg" width = "389" height = "527"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat58">58.</a>
+<span class = "smallcaps">Ruin of Garden Temple</span></p>
+
+<span class = "pagenum">161</span>
+<a name = "page161" id = "page161"> </a>
+<!-- png 179 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate60" id = "plate60">&nbsp;</a>
+<img src = "images/plate60.png" width = "232" height = "407"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate61" id = "plate61">&nbsp;</a>
+<img src = "images/plate61.png" width = "241" height = "416"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat60">60.</a>
+<span class = "smallcaps">Female Statue With Fruit and Wheat</span>
+</td>
+<td class = "platename">
+<a href = "#cat61">61.</a>
+<span class = "smallcaps">Female Statue With Mask</span>
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">162</span>
+<a name = "page162" id = "page162"> </a>
+<!-- png 180 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate62" id = "plate62">&nbsp;</a>
+<img src = "images/plate62.png" width = "241" height = "414"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate63" id = "plate63">&nbsp;</a>
+<img src = "images/plate63.png" width = "229" height = "402"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat62">62.</a>
+<span class = "smallcaps">Queen With Armor and Model of Building</span>
+</td>
+<td class = "platename">
+<a href = "#cat63">63.</a>
+<span class = "smallcaps">Apollo With Lyre</span>
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">163</span>
+<a name = "page163" id = "page163"> </a>
+<!-- png 181 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate64" id = "plate64">&nbsp;</a>
+<img src = "images/plate64.png" width = "247" height = "416"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate65" id = "plate65">&nbsp;</a>
+<img src = "images/plate65.png" width = "237" height = "405"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat64">64.</a>
+<span class = "smallcaps">Woman With Shepherd’s Pipe</span>
+</td>
+<td class = "platename">
+<a href = "#cat65">65.</a>
+<span class = "smallcaps">Woman With Sheet of Music and Horn</span>
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">164</span>
+<a name = "page164" id = "page164"> </a>
+<!-- png 182 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate66" id = "plate66">&nbsp;</a>
+<img src = "images/plate66.png" width = "238" height = "413"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate67" id = "plate67">&nbsp;</a>
+<img src = "images/plate67.png" width = "238" height = "408"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat66">66.</a>
+<span class = "smallcaps">Woman With Pitcher and Apron</span>, after
+S.&nbsp;Le Clerc
+</td>
+<td class = "platename">
+<a href = "#cat67">67.</a>
+<span class = "smallcaps">Old Woman Standing</span>, after S.&nbsp;Le
+Clerc
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">165</span>
+<a name = "page165" id = "page165"> </a>
+<!-- png 183 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate68" id = "plate68">&nbsp;</a>
+<img src = "images/plate68.png" width = "239" height = "412"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate69" id = "plate69">&nbsp;</a>
+<img src = "images/plate69.png" width = "222" height = "405"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat68">68.</a>
+<span class = "smallcaps">Lady With Staff</span>
+</td>
+<td class = "platename">
+<a href = "#cat69">69.</a>
+<span class = "smallcaps">Woman With Fruit and Basket</span>
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">166</span>
+<a name = "page166" id = "page166"> </a>
+<!-- png 184 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate70" id = "plate70">&nbsp;</a>
+<img src = "images/plate70.png" width = "230" height = "414"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate71" id = "plate71">&nbsp;</a>
+<img src = "images/plate71.png" width = "233" height = "411"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat70">70.</a>
+<span class = "smallcaps">Woman With Branches and Incense Burner</span>
+</td>
+<td class = "platename">
+<a href = "#cat71">71.</a>
+<span class = "smallcaps">Woman With Flowers and Vines</span>
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">167</span>
+<a name = "page167" id = "page167"> </a>
+<!-- png 185 -->
+
+<table class = "plates" summary = "two plates">
+<tr>
+<td>
+<a name = "plate72" id = "plate72">&nbsp;</a>
+<img src = "images/plate72.png" width = "233" height = "512"
+alt = "see caption">
+</td>
+<td>
+<a name = "plate73" id = "plate73">&nbsp;</a>
+<img src = "images/plate73.png" width = "196" height = "450"
+alt = "see caption">
+</td>
+</tr>
+<tr>
+<td class = "platename">
+<a href = "#cat72">72.</a>
+<span class = "smallcaps">Standing Woman, Head Turned to Right</span>,
+after Watteau
+</td>
+<td class = "platename">
+<a href = "#cat73">73.</a>
+<span class = "smallcaps">Lady With Fan</span>, after S.&nbsp;Le Clerc
+</td>
+</tr>
+</table>
+
+<span class = "pagenum">168</span>
+<a name = "page168" id = "page168"> </a>
+<!-- png 186 -->
+
+<a name = "plate74" id = "plate74">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate74.png" width = "261" height = "447"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat74">74.</a>
+<span class = "smallcaps">Classical Female Statue</span></p>
+
+
+<span class = "pagenum">170</span>
+<a name = "page170" id = "page170"> </a>
+<!-- png 188 -->
+
+<a name = "plate75" id = "plate75">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate75.png" width = "274" height = "389"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat75">75.</a>
+<span class = "smallcaps">Boy Looking Down</span></p>
+
+
+<span class = "pagenum">169</span>
+<a name = "page169" id = "page169"> </a>
+<!-- png 187 -->
+
+<a name = "plate76" id = "plate76">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/plate76.png" width = "407" height = "531"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat76">76.</a>
+<span class = "smallcaps">Lady With a Flower</span></p>
+
+
+<span class = "pagenum">55</span>
+<a name = "page55" id = "page55"> </a>
+<!-- png 067 -->
+
+<a name = "colorplate1" id = "colorplate1">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate1.jpg" width = "452" height = "333"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat1">1.</a>
+<span class = "smallcaps">Christ Giving the Keys to St. Peter</span>,
+after Raphael<br>
+<span class = "addlink">
+(<a href = "#plate1">b/w plate</a>)</span></p>
+
+<span class = "pagenum">56</span>
+<a name = "page56" id = "page56"> </a>
+<!-- png 068 -->
+
+<a name = "colorplate2" id = "colorplate2">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate2.jpg" width = "385" height = "547"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat2">2.</a>
+<span class = "smallcaps">Venus and Cupid with a Bow</span>, after
+Parmigianino<br>
+<span class = "addlink">
+(<a href = "#plate2">b/w plate</a>)</span></p>
+
+<span class = "pagenum">57</span>
+<a name = "page57" id = "page57"> </a>
+<!-- png 069 -->
+
+<a name = "colorplate5" id = "colorplate5">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate5.jpg" width = "343" height = "545"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat5">5.</a>
+<span class = "smallcaps">Woman Meditating (St. Thais?)</span>, after
+etching by Parmigianino<br>
+<span class = "addlink">
+(<a href = "#plate5">b/w plate</a>)</span></p>
+
+<span class = "pagenum">58</span>
+<a name = "page58" id = "page58"> </a>
+<!-- png 070 -->
+
+<a name = "colorplate13" id = "colorplate13">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate13.jpg" width = "464" height = "597"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat13">13.</a>
+<span class = "smallcaps">Descent from the Cross</span>, after
+Rembrandt<br>
+<span class = "addlink">
+(<a href = "#plate13">b/w plate</a>)</span></p>
+
+
+<!-- png 076 -->
+
+<span class = "pagenum plus">64</span>
+<a name = "page64" id = "page64"> </a>
+<!-- png 077 -->
+
+<a name = "colorplate22a" id = "colorplate22a">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate22a.jpg" width = "417" height = "548"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion</span>, after Tintoretto, left
+sheet<br>
+<span class = "addlink">
+(<a href = "#plate22a">b/w plate</a>)</span></p>
+
+<span class = "pagenum">64</span>
+<!-- png 078 -->
+
+<a name = "colorplate22b" id = "colorplate22b">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate22b.jpg" width = "418" height = "575"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion</span>, after Tintoretto,
+center sheet<br>
+<span class = "addlink">
+(<a href = "#plate22b">b/w plate</a>)</span></p>
+
+<span class = "pagenum">65</span>
+<a name = "page65" id = "page65"> </a>
+<!-- png 079 -->
+
+<a name = "colorplate22c" id = "colorplate22c">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate22c.jpg" width = "416" height = "544"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat22">22.</a>
+<span class = "smallcaps">The Crucifixion</span>, after Tintoretto,
+right sheet<br>
+<span class = "addlink">
+(<a href = "#plate22c">b/w plate</a>)</span></p>
+
+<a name = "page66" id = "page66"> </a>
+<!-- png 080 -->
+
+<a name = "colorplate22_all" id = "colorplate22_all">&nbsp;</a>
+
+<p class = "platename added">
+<span class = "smallcaps">The Crucifixion</span>, <a href =
+"images/colorplate22_all.jpg" target = "_blank">combined view</a>.</p>
+
+<span class = "pagenum">60</span>
+<a name = "page60" id = "page60"> </a>
+<!-- png 072 -->
+
+<a name = "colorplate40" id = "colorplate40">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate40.jpg" width = "458" height = "328"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat40">40.</a>
+<span class = "smallcaps">Heroic Landscape with Fisherman, Cows, and
+Horsemen</span>, after Marco Ricci<br>
+<span class = "addlink">
+(<a href = "#plate40">b/w plate</a>)</span></p>
+
+
+<span class = "pagenum">61</span>
+<a name = "page61" id = "page61"> </a>
+<!-- png 073 -->
+
+<a name = "colorplate40d" id = "colorplate40d">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate40d.jpg" width = "455" height = "328"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat40">40.</a>
+<span class = "smallcaps">Heroic Landscape with Fisherman, Cows and
+Horsemen</span>, after Marco Ricci, Detail</p>
+
+
+<span class = "pagenum">59</span>
+<a name = "page59" id = "page59"> </a>
+<!-- png 071 -->
+
+<a name = "colorplate43" id = "colorplate43">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate43.jpg" width = "462" height = "330"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat43">43.</a>
+<span class = "smallcaps">Heroic Landscape with Watering Place, Riders,
+and Obelisk</span>, after Marco Ricci<br>
+<span class = "addlink">
+(<a href = "#plate43">b/w plate</a>)</span></p>
+
+
+<span class = "pagenum">62</span>
+<a name = "page62" id = "page62"> </a>
+<!-- png 074 -->
+
+<a name = "colorplate49" id = "colorplate49">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate49.jpg" width = "386" height = "540"
+alt = "see captions"></p>
+
+<p class = "platename">
+<a href = "#cat49">49.</a>
+<span class = "smallcaps">Ornamental Frame with Flowers and Girl’s
+Head</span><br>
+59. <span class = "smallcaps">Woman Standing Holding Apron</span><br>
+<span class = "addlink">
+(<a href = "#plate49">b/w plate</a>)</span></p>
+
+<a name = "colorplate59" id = "colorplate59">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate59.jpg" width = "189" height = "476"
+alt = "see captions"></p> <!-- extra -->
+
+<p class = "platename added">
+<span class = "smallcaps">Woman Standing Holding Apron</span>: separate
+view added by transcriber.</p>
+
+
+<span class = "pagenum">63</span>
+<a name = "page63" id = "page63"> </a>
+<!-- png 075 -->
+
+<a name = "colorplate53" id = "colorplate53">&nbsp;</a>
+
+<p class = "illustration">
+<img src = "images/colorplate53.jpg" width = "404" height = "557"
+alt = "see caption"></p>
+
+<p class = "platename">
+<a href = "#cat53">53.</a>
+<span class = "smallcaps">Building and Vegetable</span><br>
+<span class = "addlink">
+(<a href = "#plate53">b/w plate</a>)</span></p>
+
+
+<span class = "pagenum">171</span>
+<a name = "page171" id = "page171"> </a>
+<!-- png 189 -->
+
+<h4 class = "chapter"><a name = "biblio" id = "biblio">
+BIBLIOGRAPHY</a></h4>
+
+
+<p><span class = "smallcaps">Anonymous.</span> <i>An Enquiry into the
+Origins of Printing in Europe, by a Lover of Art.</i> London, 1752.</p>
+
+<p class = "quote">
+A rewrite of Jackson’s manuscript journal, with some sections quoted
+verbatim. The artist’s career from about 1725 to 1752 is described. The
+most important biographical source and a rare book.</p>
+
+<p><span class = "smallcaps">Audin, M.</span> <i>Essai sur les graveurs
+de bois en France au dix-huitième siècle.</i> Paris, 1925, pp.
+99-102.</p>
+
+<p class = "quote">
+Contains a section listing many books illustrated by Jackson in Paris,
+mostly in later editions.</p>
+
+<p><span class = "smallcaps">Baverel, P.</span> <i>Notices sur les
+graveurs</i>, Besançon, 1807, vol. 1, pp. 341-342.</p>
+
+<p><span class = "smallcaps">Bénézit, E.</span> <i>Dictionnaire des
+peintres, sculpteurs, dessinateurs, &amp; graveurs.</i> Paris, 1924 (1st
+ed. 1913), vol. 2, p. 693.</p>
+
+<p><span class = "smallcaps">Bewick, Thomas.</span> <i>Memoir of Thomas
+Bewick, Written by Himself</i>, 1822-1828. New York, 1925 (1st ed.,
+1862), pp. 213-214.</p>
+
+<p class = "quote">
+Mentions meeting Jackson in advanced age, about 1777. The book contains
+much personal reminiscence and observation on life but little concrete
+detail for the student.</p>
+
+<p><span class = "smallcaps">Bigmore, E. C.</span> and <span class =
+"smallcaps">Wyman, C.&nbsp;W. H.</span> <i>A Bibliography of
+Printing.</i> London, 1880-1886, vol. 1, pp. 201, 365.</p>
+
+<p class = "quote">
+The most extensive annotated listing of books relating to printing. Has
+a description of Jackson’s <i>Essay</i>.</p>
+
+<p><span class = "smallcaps">Brulliot, F.</span> <i>Dictionnaire des
+monogrammes.</i> Munich, 1832-1834, vol. 2, Nos. 1288, 1352, 1535.</p>
+
+<p><span class = "smallcaps">Bryan, M.</span> <i>Dictionary of Painters
+and Engravers.</i> London and New York, 1904 (1st ed. 1816), vol. 3, p.
+99.</p>
+
+<p class = "quote">
+The most comprehensive biographical dictionary of artists in the English
+language.</p>
+
+<p><span class = "smallcaps">Burch, R. M.</span> <i>Colour Printing and
+Colour Printers.</i> London, 1910, pp. 72-77.</p>
+
+<p class = "quote">
+The most comprehensive general survey, but with more than occasional
+inaccuracies. There is a lack of sensitivity in art matters. These
+comments apply also to the section on Jackson.</p>
+
+<span class = "pagenum">172</span>
+<a name = "page172" id = "page172"> </a>
+<!-- png 190 -->
+<p><span class = "smallcaps">Chatto, W.</span>, and <span class =
+"smallcaps">Jackson, J.</span> <i>A Treatise on Wood-Engraving.</i>
+London, 1861 (1st. ed. 1839), pp. 453-457.</p>
+
+<p class = "quote">
+The classic work on the subject; scholarly, objective, and voluminously
+illustrated. Has the fullest early account of Jackson and is the basis
+for most later studies of the artist.</p>
+
+<p><span class = "smallcaps">Cust, L.</span> “John Baptist Jackson,”
+<i>Dictionary of National Biography.</i> New York and London, 1885-1900,
+vol. 29, p. 100.</p>
+
+<p><span class = "smallcaps">De Boni, F.</span> <i>Biografia degli
+artisti.</i> Venice, 1840, p. 499.</p>
+
+<p><span class = "smallcaps">Donnell, Edna.</span> “The Van Rensselaer
+Wall Paper and J.&nbsp;B.&nbsp;Jackson&mdash;A Study in Disassociation.”
+<i>Metropolitan Museum Studies</i>, 1932, vol. 4, pp. 77-108.</p>
+
+<p class = "quote">
+The most scholarly study of Jackson’s wallpaper career. Shows, by an
+examination of styles, that Jackson could not have made the wallpapers
+indiscriminately attributed to him.</p>
+
+<p><span class = "smallcaps">Duplessis, G.</span> Histoire de la
+gravure. Paris, 1880, pp. 314-315.</p>
+
+<p><span class = "smallcaps">Entwisle, E. A.</span> <i>The Book of
+Wallpaper.</i> London, 1954, pp. 65-67, 76.</p>
+
+<p class = "quote">
+Contains new information on wallpaper manufacturers in London during the
+18th century, some of it bearing on Jackson.</p>
+
+<p><span class = "smallcaps">Frankau, J.</span> <i>Eighteenth-Century
+Colour-Prints.</i> London, 1907, pp. 42-46.</p>
+
+<p class = "quote">
+Has an appreciative section on Jackson, highly romanticized.</p>
+
+<p><span class = "smallcaps">Friedländer, M. J.</span> <i>Der
+Holzschnitt: Handbücher der Staatlichen Museen zu Berlin.</i> Berlin and
+Leipzig, 1926 (1st ed. 1917), pp. 224-226.</p>
+
+<p><span class = "smallcaps">Fuessli, J. C.</span> <i>Raisonirendes
+Verzeichniss der vornehmsten Kupferstecher.</i> Zurich, 1771, pp.
+353-354.</p>
+
+<p><span class = "smallcaps">Furst, H.</span> <i>The Modern Woodcut.</i>
+New York, 1924, pp. 88, 99.</p>
+
+<p class = "quote">
+A fine general survey, although judgments are occasionally dogmatic.</p>
+
+<p><span class = "smallcaps">Gallo, R.</span> <i>L’Incisioni nel ’700 a
+Venezia e a Bassano.</i> Venice, 1941, pp. 22-23.</p>
+
+<p class = "quote">
+A solid study containing some new material on the artists of the
+period.</p>
+
+<p><span class = "smallcaps">Gori Gandellini, G.</span> <i>Notizie
+Istoriche degl’ Intagliatori.</i> Siena, 1771, vol. 2, p. 156.</p>
+
+<p><span class = "smallcaps">Gusman, P.</span> <i>La Gravure sur bois et
+d’epargne sur metal du XIV<sup>e</sup> au XX<sup>e</sup> siècle.</i>
+Paris, 1916, pp. 32, 164-165, 193, 252.</p>
+
+<p><span class = "smallcaps">Hardie, Martin.</span> <i>English Coloured
+Books.</i> New York and London, 1906, pp. 19-27.</p>
+
+<p class = "quote">
+While a brief but sensitive account of Jackson is given, the main
+emphasis is on the <i>Essay</i> as an illustrated book.</p>
+
+<p><span class = "smallcaps">Heinecken, C. H. von.</span> <i>Idée
+générale d’une collection complette d’estampes.</i> Leipzig and Vienna,
+1771, p. 94.</p>
+
+<span class = "pagenum">173</span>
+<a name = "page173" id = "page173"> </a>
+<!-- png 191 -->
+<p><span class = "smallcaps">Heller, J.</span> <i>Geschichte der
+Holzschneidekunst.</i> Bamberg, 1823, pp. 295-296. <i>Praktisches
+Handbuch für Kupferstichsammler.</i> Leipzig, 1850, p. 334.</p>
+
+<p class = "quote">
+Lists 10 chiaroscuros by Jackson.</p>
+
+<p><span class = "smallcaps">Heller, J.</span>, and <span class =
+"smallcaps">Andresen, A.</span> <i>Handbuch für Kupferstichsammler.</i>
+Leipzig, 1870, vol. 1, pp. 706-707.</p>
+
+<p class = "quote">
+Lists 11 prints by Jackson.</p>
+
+<p><span class = "smallcaps">Huber, M.</span> <i>Notices générales des
+graveurs et des peintres.</i> Dresden, 1787, pp. 676, 698.</p>
+
+<p><span class = "smallcaps">Huber, M.</span>, and <span class =
+"smallcaps">Rost, C. C.</span> <i>Handbuch für Kunstliebhaber und
+Sammler.</i> Zurich, 1808, vol. 9, pp. 129-131.</p>
+
+<p><span class = "smallcaps">Huber, M.</span>, <span class =
+"smallcaps">Rost, C. C.</span>, and <span class = "smallcaps">Martini,
+C.&nbsp;G.</span> <i>Manuel des curieux et des amateurs d’art.</i>
+Zurich, 1797-1808, vol. 9, pp. 121-123.</p>
+
+<p class = "quote">
+First catalog of Jackson’s work; lists 10 titles.</p>
+
+<p><span class = "smallcaps">Jackson, John Baptist.</span> <i>An Essay
+on the Invention of Engraving and Printing in Chiaro Oscuro, as
+Practised by Albert <ins class = "correction"
+title = "printed without umlaut">Durer</ins>, Hugo di Carpi, &amp;c., and the Application of It
+to the Making Paper Hangings of Taste, Duration, and Elegance.</i>
+London, 1754.</p>
+
+<p class = "quote">
+Written by Jackson to promote his wallpapers, it repeats some of his
+assertions in the <i>Enquiry</i> but gives little detail concerning his
+career. It is important as an illustrated book and as an early document
+in the history of wallpaper. The prints have suffered from the use of an
+inferior oil vehicle.</p>
+
+<p><span class = "smallcaps">Kainen, Jacob.</span> “John Baptist Jackson
+and his Chiaroscuros.” <i>Printing and Graphic Arts</i>, vol. 4, no. 4,
+1956, pp. 85-92.</p>
+
+<p class = "quote">
+An excerpt from the present work, then in progress, in a different
+version.</p>
+
+<p><span class = "smallcaps">Kreplin, B. C.</span> “John Baptist
+Jackson,” in Thieme, U., and Becker, F., <i>Allgemeines Lexikon der
+Bildenden Künstler.</i> Leipzig, 1907-1950, vol. 18, pp. 224-225.</p>
+
+<p class = "quote">
+The most comprehensive biographical dictionary of artists. Has a good
+article on Jackson and a small bibliography.</p>
+
+<p><span class = "smallcaps">Le Blanc, C.</span> <i>Manuel de l’amateur
+d’estampes.</i> Paris, 1854-1888, vol. 2, p. 416.</p>
+
+<p class = "quote">
+Particularly valuable for its catalogs of the work of engravers. With
+Nagler, contains the largest listing of Jackson’s prints.</p>
+
+<p><span class = "smallcaps">Levis, H. C.</span> <i>A Descriptive
+Bibliography of Books in English Relating to Engraving and the
+Collection of Prints.</i> London, 1912, pp. 182-184.</p>
+
+<p><span class = "smallcaps">Lewis, C. T. C.</span> <i>The Story of
+Picture Printing in England During the 19th Century; or Forty Years of
+Wood and Stone.</i> London, 1928, pp. 2, 21, 26, 34, 40, 43, 195.</p>
+
+<p class = "quote">
+Written in an oppressively popular style with emphasis on Baxter and Le
+Blond. Jackson is mentioned often but sketchily as the distant ancestor
+of “picture printing.”</p>
+
+<span class = "pagenum">174</span>
+<a name = "page174" id = "page174"> </a>
+<!-- png 192 -->
+<p><span class = "smallcaps">Linton, W.</span> <i>The Masters of Wood
+Engraving.</i> London, 1889, p. 214.</p>
+
+<p class = "quote">
+Discusses the subject from the standpoint of a late-19th-century
+technician. Nevertheless is open-minded, if slightly superior, about the
+chiaroscuro woodcut.</p>
+
+<p><span class = "smallcaps">Longhi, G.</span> <i>Catalogo dei più
+celebri intagliatori in legno ed in rame.</i> Milan, 1821, p. 51.</p>
+
+<p><span class = "smallcaps">Maberly, J.</span> <i>The Print
+Collector.</i> London, 1844, p. 130.</p>
+
+<p class = "quote">
+The first American edition, New York, 1880, edited by Robert Hoe, copies
+the annotated description of the <i>Essay</i> from Bigmore and
+Wyman.</p>
+
+<p><span class = "smallcaps">McClelland, N.</span> <i>Historic
+Wall-Papers.</i> Philadelphia and London, 1924, pp. 47, 79, 141-154,
+165, 324-329, 423.</p>
+
+<p class = "quote">
+Makes many references to Jackson, largely inaccurate.</p>
+
+<p><span class = "smallcaps">Mireur, H.</span> <i>Dictionnaire des
+ventes d’art fait en France.</i> Paris, 1911-1912, vol. 4, p. 23.</p>
+
+<p><span class = "smallcaps">Müller, F.</span>, and <span class =
+"smallcaps">Klunzinger, K.</span> <i>Die Künstler Aller Zeiten und
+Völker.</i> 1857-1864, vol. 2, p. 430.</p>
+
+<p><span class = "smallcaps">Müller, H.&nbsp;A.</span>, <span class =
+"smallcaps">Müller, H. W.</span>, and <span class = "smallcaps">Singer,
+H.&nbsp;W.</span> <i>Allgemeines Künstler-Lexicon.</i> Frankfurt,
+1895-1901, vol. 2, p. 240.</p>
+
+<p><span class = "smallcaps">Nagler, G. K.</span> <i>Allgemeines
+Künstler-Lexicon.</i> Munich. 1835-51, vol. 6, pp. 383-384.</p>
+
+<p class = "quote">
+The most extensive of all dictionaries of artists up to the time of
+Thieme and Becker, <i>q.v.</i> With Le Blanc, has the fullest catalog of
+Jackson’s prints.</p>
+
+<p>&mdash; <i>Die Monogrammisten</i>, Munich, 1858-1879, vol. 3, pp.
+730, 836.</p>
+
+<p><span class = "smallcaps">Oman, C. C.</span> <i>Catalogue of
+Wall-Papers.</i> London, Victoria and Albert Museum, 1929, pp. 24-25,
+33.</p>
+
+<p class = "quote">
+A good historical account which includes Jackson’s contributions to the
+rise of scenic wallpaper.</p>
+
+<p><span class = "smallcaps">Pallucchini, Rodolfo.</span> <i>Mostra
+degli incisori Veneti del settecento.</i> Venice, 1941, ed. 2, pp. 16,
+103-104.</p>
+
+<p class = "quote">
+Catalog of the exhibition held in Venice in 1941.</p>
+
+<p><span class = "smallcaps">Papillon, J. M.</span> <i>Traité historique
+et pratique de la gravure en bois.</i> Paris, 1766, vol. 1, pp. 323-324,
+327-329, 415.</p>
+
+<p class = "quote">
+Contains personal recollections of Jackson and his career in France. The
+book is valuable as the first technical treatise on the woodcut, but the
+historical section is notoriously inaccurate and heavily weighted with
+Papillon’s prejudices.</p>
+
+<p><span class = "smallcaps">Percival, MacIver.</span> “Jackson of
+Battersea and his Wall Papers.” <i>The Connoisseur</i>, 1922, vol. 62,
+pp. 25-36.</p>
+
+<span class = "pagenum">175</span>
+<a name = "page175" id = "page175"> </a>
+<!-- png 193 -->
+<p><span class = "smallcaps">Redgrave, S.</span> <i>Dictionary of
+Artists of the English School.</i> London, 1874, p. 227.</p>
+
+<p><span class = "smallcaps">Reichel, Anton.</span> <i>Die
+Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts.</i>
+Zurich, Leipzig, and Vienna, 1926, p. 48.</p>
+
+<p class = "quote">
+The finest work on chiaroscuro, with 100 magnificent facsimile
+illustrations in color, fully described, and black-and-white
+illustrations in the text. Reproduces two of Jackson’s Ricci prints in
+actual size and color.</p>
+
+<p><span class = "smallcaps">Savage, W.</span> <i>Practical Hints on
+Decorative Printing.</i> London, 1822, pp. 15-16.</p>
+
+<p class = "quote">
+Savage was the first writer to acknowledge Jackson’s contributions to
+color printing, although he was critical of his inks. The book attempts
+to show, through examples, that color printing from woodblocks is
+practical for a variety of purposes.</p>
+
+<p><span class = "smallcaps">Smith, J.</span> <i>The Printers
+Grammar.</i> London, 1755, p. 136.</p>
+
+<p><span class = "smallcaps">Spooner, S.</span> <i>Dictionary of
+Painters, Engravers, Sculptors &amp; Architects.</i> New York, 1853,
+vol. 1, pp. 420-421.</p>
+
+<p><span class = "smallcaps">Strutt, J.</span> <i>Dictionary of
+Engravers.</i> London, 1785-86, vol. 2, p. 41.</p>
+
+<p><span class = "smallcaps">Sugden, A. V.</span>, and <span class =
+"smallcaps">Edmondson, J.&nbsp;L.</span> <i>A History of English
+Wallpaper.</i> New York and London, 1925, pp. 61-71.</p>
+
+<p class = "quote">
+The most thorough book on the subject although the treatment of Jackson
+is narrowly confined, like most wallpaper books, to his shortcomings as
+a decorator for elegant homes.</p>
+
+<p><span class = "smallcaps">Walpole, Horace.</span> <i>Anecdotes of
+Painting in England. A&nbsp;Catalogue of Engravers who Have Been Born,
+or Resided in England. Digested from the Manuscript of George
+Vertue.</i> London, 1765 (1st ed. 1762), p. 3.</p>
+
+<p class = "quote">
+Important as the first compilation on this subject.</p>
+
+<p><i>The Letters of Horace Walpole.</i> Edited by Mrs. Paget Toynbee,
+Oxford, 1903-05, vol. 3, p. 166.</p>
+
+<p><span class = "smallcaps">Weigel, R.</span> <i>Kunstlagercatalog.</i>
+Leipzig, 1837-1866, vol. 2, pp. 103, 105; vol. 4, p. 52.</p>
+
+<p><span class = "smallcaps">Wick, Peter A.</span> <i>Suite of Six Color
+Woodcuts of Heroic Landscapes by John Baptist Jackson after Marco
+Ricci.</i> 1955, 12 pp.</p>
+
+<p class = "quote">
+Manuscript read at the XVIII Congres International d’Histoire de L’Art,
+Venice, Sept. 12-18, 1955. The first good, scholarly study of the Ricci
+prints. Traces Jackson’s career briefly but accurately.</p>
+
+<p><span class = "smallcaps">Y. D.</span> Historical Remarks on Cutting
+in Wood. <i>The Gentleman’s Magazine</i>, February 1752, vol. 22, pp.
+78-79.</p>
+
+<p class = "quote">
+The first published statement of Jackson’s contribution as a
+woodcutter.</p>
+
+<span class = "pagenum">176</span>
+<a name = "page176" id = "page176"> </a>
+<!-- png 194 -->
+<p><span class = "smallcaps">Zanetti, A.&nbsp;M.</span> <i>Della pittura
+veneziana.</i> Venice, 1792. (1st ed. 1771), vol. 2, pp. 689, 716.
+Zanetti was the librarian of St. Mark’s and the nephew of the famous
+chiaroscurist.</p>
+
+<p><span class = "smallcaps">Zani, D. P.</span> <i>Enciclopedia metodica
+delle belle arti.</i> Parma, <!--yummy ham! --> 1817-24, vol. 11, p.
+47.</p>
+
+<p><span class = "smallcaps">Zanotto, F.</span> <i>Nuovissimo guida di
+Venezia.</i> Venice, 1856, p. 320, note&nbsp;3.</p>
+
+
+
+
+<span class = "pagenum">177</span>
+<a name = "page177" id = "page177"> </a>
+<!-- png 195 -->
+
+<h4 class = "ital"><a name = "plates" id = "plates">
+INDEX TO PLATES</a></h4>
+
+<div class = "platelist">
+
+<p>1. <i>Christ Giving the Keys to St. Peter</i>, after Raphael,
+<a href = "#colorplate1">55</a> (color), <a href = "#plate1">99</a></p>
+
+<p>2. <i>Venus and Cupid with a Bow</i>, after Parmigianino,
+<a href = "#colorplate2">56</a> (color), <a href = "#plate2">100</a></p>
+
+<p>3. <i>Woman Standing Holding Jar on Her Head</i>, after Parmigianino,
+<a href = "#plate3">101</a></p>
+
+<p>5. <i>Woman Meditating</i> (<i>St. Thais?</i>), after Parmigianino,
+<a href = "#colorplate5">57</a> (color), <a href = "#plate5">102</a></p>
+
+<p>6. <i>Ulysses and Polyphemus</i>, after Primaticcio,
+<a href = "#plate6">104</a></p>
+
+<p>7. <i>Bookplate</i>, <a href = "#plate7">103</a></p>
+
+<p>8. <i>Judgment of Solomon</i>, after Rubens,
+<a href = "#plate8">105</a></p>
+
+<p>9. <i>The Visitation</i>, after Annibale Carracci,
+<a href = "#plate9">106</a></p>
+
+<p>10. <i>Julius Caesar</i>, after Titian,
+<a href = "#plate10">107</a></p>
+
+<p>11. <i>St. Rocco</i>, after Cherubino Alberti,
+<a href = "#plate11">108</a></p>
+
+<p>12. <i>Statuette of Neptune</i>, after Giovanni da Bologna,
+<a href = "#plate12">109</a></p>
+
+<p>13. <i>Descent from the Cross</i>, after Rembrandt,
+<a href = "#colorplate13">58</a> (color),
+<a href = "#plate13">112</a></p>
+
+<p>14. <i>Christ and the Woman of Samaria</i>,
+<a href = "#plate14">110</a></p>
+
+<p>15. <i>Romulus and Remus, Wolf and Sea God</i>,
+<a href = "#plate15">111</a></p>
+
+<p>16. <i>The Death of St. Peter Martyr</i>, <ins class = "correction"
+title = "printed as italic">after</ins> Titian,
+<a href = "#plate16">113</a></p>
+
+<p>17. <i>The Presentation in the Temple</i> (The Circumcision), after
+Veronese, <a href = "#plate17">114</a></p>
+
+<p>18. <i>The Massacre of the Innocents</i>, after Tintoretto,
+<a href = "#plate18">115</a></p>
+
+<p>19. <i>The Entombment</i>, after Jacopo Bassano,
+<a href = "#plate19">118</a></p>
+
+<p>20. <i>Holy Family and Four Saints</i>, after Veronese,
+<a href = "#plate20">119</a></p>
+
+<p>21. <i>The Mystic Marriage of St. Catherine</i>, after Veronese,
+<a href = "#plate21">120</a></p>
+
+<p>22. <i>The Crucifixion</i>, after Tintoretto,</p>
+<p class = "inset">
+left sheet, <a href = "#colorplate22a">64</a> (color),
+<a href = "#plate22a">116</a></p>
+<p class = "inset">
+center sheet, <a href = "#pic37">37</a> (proof of key block),
+<a href = "#colorplate22b">64</a> (color),
+<a href = "#plate22b">116</a></p>
+<p class = "inset">
+right sheet, <a href = "#colorplate22c">65</a> (color),
+<a href = "#plate22c">117</a></p>
+
+<p>23. <i>Miracle of St. Mark</i>, after Tintoretto,</p>
+<p class = "inset">
+left sheet, <a href = "#plate23a">122</a></p>
+<p class = "inset">
+right sheet, <a href = "#plate23b">123</a></p>
+
+<p>24. <i>The Marriage at Cana</i>, after Veronese,</p>
+<p class = "inset">
+left sheet, <a href = "#plate24a">124</a></p>
+<p class = "inset">
+right sheet, <a href = "#plate24b">125</a></p>
+
+<p>25. <i>Presentation of the Virgin in the Temple</i>, after
+Titian,</p>
+<p class = "inset">
+left sheet, <a href = "#plate25a">136</a></p>
+<p class = "inset">
+center sheet, <a href = "#plate25b">136</a></p>
+<p class = "inset">
+right sheet, <a href = "#plate25c">137</a></p>
+
+<p>26. <i>The Virgin in the Clouds and Six Saints</i>, after Titian,
+<a href = "#plate26">121</a></p>
+
+<p>27. <i>The Descent of the Holy Spirit</i>, after Titian,
+<a href = "#plate27">126</a></p>
+
+<p>28. <i>The Finding of Moses</i>, after Veronese,
+<a href = "#plate28">127</a></p>
+
+<p>29. <i>The Raising of Lazarus</i>, after Leandro Bassano,
+<a href = "#plate29">128</a></p>
+
+<p>30. <i>Christ on the Mount of Olives</i>, after Jacopo Bassano,
+<a href = "#pic38">38</a> (key block),
+<a href = "#plate30">132</a></p>
+
+<p>31. <i>Melchisedech Blessing Abraham</i>, after Francesco Bassano,
+<a href = "#plate31">129</a></p>
+
+<span class = "pagenum">178</span>
+<a name = "page178" id = "page178"> </a>
+<!-- png 196 -->
+<p>32. <i>Dives and Lazarus</i> (The Rich Man and Lazarus), after Jacopo
+Bassano,</p>
+<p class = "inset">
+left sheet, <a href = "#plate32a">130</a></p>
+<p class = "inset">
+right sheet, <a href = "#plate32b">131</a></p>
+
+<p>33. <i>Algernon Sidney</i>, after Justus Verus,
+<a href = "#plate33">134</a></p>
+
+<p>34. <i>Antique Bust of Woman</i>, <a href = "#plate34">135</a></p>
+
+<p>35. <i>Lovers</i> (facing right), perhaps after Piazzetta,
+<a href = "#plate35">138</a></p>
+
+<p>36. <i>Lovers</i> (woman full face), perhaps after Piazzetta,
+<a href = "#plate36">139</a></p>
+
+<p>37. <i>Lamentation Over the Body of Christ</i>,
+<a href = "#plate37">133</a></p>
+
+<p>38. <i>Heroic Landscape With Dedication and Classical Ruins</i>,
+after Marco Ricci, <a href = "#plate38">140</a></p>
+
+<p>39. <i>Heroic Landscape With Sheep, Statues, and Gentlemen</i>, after
+Marco Ricci, <a href = "#plate39">141</a></p>
+
+<p>40. <i>Heroic Landscape With Fisherman, Cows, and Horsemen</i>, after
+Marco Ricci, <a href = "#colorplate40">40</a> (color),
+<a href = "#colorplate40d">41</a> (color, detail),
+<a href = "#plate40">142</a></p>
+
+<p>41. <i>Heroic Landscape with Cart and Goatherd, with S.&nbsp;Giorgio
+Maggiore in Background</i>, after Marco Ricci,
+<a href = "#plate41">143</a></p>
+
+<p>42. <i>Heroic Landscape with Women at Brook, Child Fishing, and
+Herdsmen</i>, after Marco Ricci, <a href = "#plate42">144</a></p>
+
+<p>43. <i>Heroic Landscape with Watering Place, Riders, and Obelisk</i>,
+after Marco Ricci, <a href = "#colorplate43">59</a> (color),
+<a href = "#plate43">145</a></p>
+
+<p>44. <i>Battle near Parma</i>, after Francesco Simonini,
+<a href = "#plate44">146</a>,
+<a href = "#plate44d">147</a> (detail)</p>
+
+<p>45. <i>Ornamental Border with Fruit, Flowers, and Purple Grapes</i>,
+<a href = "#plate45">148</a></p>
+
+<p>46. <i>Ornamental Border with Fruit, Flowers, and Green Grapes</i>,
+<a href = "#plate46">148</a></p>
+
+<p>47. <i>Ornamental Frame with Flowers and Fruit</i>,
+<a href = "#plate47">149</a></p>
+
+<p>48. <i>Ornamental Frame with Fruit</i>,
+<a href = "#plate48">150</a></p>
+
+<p>49. <i>Ornamental Frame with Flowers and Girl’s Head</i>,
+<a href = "#colorplate49">62</a> (color),
+<a href = "#plate49">151</a></p>
+
+<p>50. <i>Dancing Nymph with Bow and Arrows</i>,
+<a href = "#plate50">152</a></p>
+
+<p>51. <i>Bust of Democritus</i>, <a href = "#plate51">153</a></p>
+
+<p>52. <i>The Lion</i>, <a href = "#plate52">154</a></p>
+
+<p>53. <i>Building and Vegetable</i>,
+<a href = "#colorplate53">63</a> (color),
+<a href = "#plate53">155</a></p>
+
+<p>54. <i>Statue of Apollo</i>, <a href = "#plate54">156</a></p>
+
+<p>55. <i>The Farnese Hercules</i>, <a href = "#plate55">157</a></p>
+
+<p>56. <i>Antique Bust of a Man</i>, <a href = "#plate56">158</a></p>
+
+<p>57. <i>Pheasant and Garden Urn</i>, <a href = "#plate57">159</a></p>
+
+<p>58. <i>Ruin of Garden Temple</i>, <a href = "#plate58">160</a></p>
+
+<p>59. <i>Woman Standing Holding Apron</i>, after S.&nbsp;Le Clerc,
+<a href = "#colorplate59">62</a> (color),
+<a href = "#plate59">151</a></p>
+
+<p>60. <i>Female Statue with Fruit and Wheat</i>,
+<a href = "#plate60">161</a></p>
+
+<p>61. <i>Female Statue with Mask</i>, <a href = "#plate61">161</a></p>
+
+<p>62. <i>Queen with Armor and Model of Building</i>,
+<a href = "#plate62">162</a></p>
+
+<p>63. <i>Apollo with Lyre</i>, <a href = "#plate63">162</a></p>
+
+<p>64. <i>Woman with Shepherd’s Pipe</i>,
+<a href = "#plate64">163</a></p>
+
+<p>65. <i>Woman with Sheet of Music and Horn</i>,
+<a href = "#plate65">163</a></p>
+
+<p>66. <i>Woman with Pitcher and Apron</i>, after S.&nbsp;Le Clerc,
+<a href = "#plate66">164</a></p>
+
+<p>67. <i>Old Woman Standing</i>, after S. Le Clerc,
+<a href = "#plate67">164</a></p>
+
+<p>68. <i>Lady with Staff</i>, <a href = "#plate68">165</a></p>
+
+<p>69. <i>Woman with Fruit and Basket</i>,
+<a href = "#plate69">165</a></p>
+
+<p>70. <i>Woman with Branches and Incense Burner</i>,
+<a href = "#plate70">166</a></p>
+
+<span class = "pagenum">179</span>
+<a name = "page179" id = "page179"> </a>
+<!-- png 197 -->
+
+<p>71. <i>Woman with Flowers and Vines</i>,
+<a href = "#plate71">166</a></p>
+
+<p>72. <i>Standing Woman, Head Turned to Right</i>, after Watteau,
+<a href = "#plate72">167</a></p>
+
+<p>73. <i>Lady with Fan</i>, after S. Le Clerc,
+<a href = "#plate73">167</a></p>
+
+<p>74. <i>Classical Female Statue</i>, <a href = "#plate74">168</a></p>
+
+<p>75. <i>Boy Looking Down</i>, <a href = "#plate75">170</a></p>
+
+<p>76. <i>Lady with a Flower</i>, <a href = "#plate76">169</a></p>
+</div>
+
+<a name = "page180" id = "page180"> </a>
+<!-- png 198 -->
+
+
+<span class = "pagenum">181</span>
+<a name = "page181" id = "page181"> </a>
+<!-- png 199 -->
+
+<h4 class = "ital"><a name = "index" id = "index">
+INDEX</a></h4>
+
+<p class = "mynote">
+References to footnotes (number+n) link directly to the appropriate
+note. Other references link only to the top of the page.</p>
+
+<table class = "index" summary = "index">
+<tr>
+<td width = "50%">
+<p>Alberti, Cherubino, <a href = "#page30">30</a></p>
+<p>Albrizzi, G. B., <a href = "#page26">26</a>,
+<a href = "#page28">28</a>,
+<a href = "#page29">29</a></p>
+<p>Altdorfer, Albrecht, <a href = "#note31">36n</a></p>
+<p>Andreani, Andrea, <a href = "#page10">10</a>,
+<a href = "#page11">11</a>,
+<a href = "#note11">12n</a>,
+<a href = "#page31">31</a>,
+<a href = "#page45">45</a></p>
+<p>Annison, M., <a href = "#page22">22</a></p>
+
+<p class = "space">
+Baglioni, <a href = "#page27">27</a>,
+<a href = "#page29">29</a></p>
+<p>Baldung, Hans, <a href = "#page10">10</a></p>
+<p>Bartolozzi, Francesco, <a href = "#page4">4</a></p>
+<p>Bassano, Jacopo, <a href = "#page32">32</a></p>
+<p>Baxter, George, <a href = "#page67">67</a></p>
+<p>Beccafumi, Domenico, <a href = "#page10">10</a></p>
+<p>Berghem, Nicolaes, <a href = "#page45">45</a></p>
+<p>Bewick, Thomas, <a href = "#page5">5</a>,
+<a href = "#note9">9n</a>,
+<a href = "#page16">16</a>,
+<a href = "#page17">17</a>,
+<a href = "#page28">28</a>,
+<a href = "#page35">35</a>,
+<a href = "#page49">49</a>,
+<a href = "#page50">50</a></p>
+<p><i>Bibbia del Nicolosi</i>, <a href = "#page26">26</a></p>
+<p><i>Biblia Sacra</i> (published by Hertz),
+<a href = "#page28">28</a></p>
+<p>Bloemart, Abraham, <a href = "#page22">22</a></p>
+<p class = "inset">
+Cornelius, <a href = "#page22">22</a></p>
+<p class = "inset">
+Frederick, <a href = "#page22">22</a></p>
+<p>Boldrini, Niccolò, <a href = "#page11">11</a></p>
+<p>Bologna, Giovanni da, <a href = "#page31">31</a></p>
+<p><i>Book of St. Albans</i>, <a href = "#page7">7</a></p>
+<p>Brand, Thomas, <a href = "#page48">48</a></p>
+<p>Bromwich, Thomas, <a href = "#page42">42</a></p>
+<p>Burgkmair, Hans, <a href = "#page10">10</a></p>
+<p>Businck, Ludolph, <a href = "#page11">11</a>,
+<a href = "#page28">28</a>,
+<a href = "#page45">45</a></p>
+
+<p class = "space">
+Cabinet Crozart, <a href = "#page22">22</a>,
+<a href = "#page23">23</a></p>
+<p>Callot, Jacques, <a href = "#page4">4</a>,
+<a href = "#page18">18</a>,
+<a href = "#page30">30</a></p>
+<p>Campagnola, Domenico, <a href = "#page44">44</a></p>
+<p>Canaletto, <a href = "#page45">45</a></p>
+<p>Carpi, Ugo da, <a href = "#page10">10</a>,
+<a href = "#page11">11</a>,
+<a href = "#page25">25</a>,
+<a href = "#page26">26</a>,
+<a href = "#page41">41</a>,
+<a href = "#page44">44</a>,
+<a href = "#page45">45</a>,
+<a href = "#page51">51</a>,
+<a href = "#page52">52</a></p>
+<p>Carracci, Agostino, <a href = "#note29">32n</a></p>
+<span class = "pagenum left">181b</span>
+<p>Caslon, William, <a href = "#page16">16</a></p>
+<p>Caylus, Anne Claude Phillipe, Count de, <a href = "#page22">22</a>,
+<a href = "#page23">23</a>,
+<a href = "#page28">28</a></p>
+<p>Chinese woodcuts, <a href = "#page36">36</a>,
+<a href = "#page68">68</a></p>
+<p>Coriolano, Bartolomeo, <a href = "#page11">11</a>,
+<a href = "#page45">45</a></p>
+<p class = "inset">
+Giovanni Battista, <a href = "#page11">11</a></p>
+<p>Coypel, Charles, <a href = "#page28">28</a></p>
+<p>Cranach, Lucas, <a href = "#page9">9</a></p>
+<p>Croxall’s <i>Aesop’s Fables</i>, <a href = "#page14">14</a>,
+<a href = "#page15">15</a>,
+<a href = "#page31">31</a></p>
+<p>Crozat, Pierre, <a href = "#page22">22</a>,
+<a href = "#page23">23</a>,
+<a href = "#page48">48</a></p>
+
+<p class = "space">
+D’Arcy, Robert, <a href = "#page35">35</a></p>
+<p>Darley, Matthias, <a href = "#page42">42</a></p>
+<p>Dunbar, Robert, <a href = "#page30">30</a></p>
+<p class = "inset">
+Robert, Jr., <a href = "#page42">42</a>,
+<a href = "#page48">48</a></p>
+<p>Dürer, Albrecht, <a href = "#page4">4</a>,
+<a href = "#note9">9n</a>,
+<a href = "#page41">41</a>,
+<a href = "#page44">44</a>,
+<a href = "#page52">52</a></p>
+
+<p class = "space">
+Eaton, Edward, <a href = "#page49">49</a></p>
+<p>Ecman, Edouard, <a href = "#page30">30</a></p>
+<p>Edwards, George, <a href = "#note2">5n</a></p>
+<p>“Ekwitz,” <a href = "#page14">14</a></p>
+<p>Elliot, Sir Gilbert, <a href = "#page50">50</a></p>
+<p><i>Enquiry into the Origins of Printing in Europe</i> (publication),
+<a href = "#page41">41</a></p>
+<p><i>Essay on the Invention of Engraving and Printing in Chiaro
+Oscuro</i> (publication), <a href = "#page43">43</a></p>
+
+<p class = "space">
+Faldoni, Giovanni Antonio, <a href = "#page30">30</a></p>
+<p>Farsetti, Filippo, <a href = "#page26">26</a>,
+<a href = "#page27">27</a></p>
+<p>François, J. C., <a href = "#page54">54</a></p>
+<p>Frederick, Charles, <a href = "#page31">31</a></p>
+<p>Fougeron, John, <a href = "#page49">49</a></p>
+
+<p class = "space">
+Gauguin, Paul, <a href = "#page4">4</a>,
+<a href = "#page54">54</a></p>
+<p>George III, <a href = "#page31">31</a></p>
+<p>Goltzius, Hendrick, <a href = "#page11">11</a></p>
+<p class = "inset">
+Hubert, <a href = "#page22">22</a>,
+<a href = "#page29">29</a>,
+<a href = "#page45">45</a></p>
+
+<span class = "pagenum left">182</span>
+<a name = "page182" id = "page182"> </a>
+<!-- png 200 -->
+
+<p>Goya, Francesco, <a href = "#page4">4</a></p>
+<p>Guardi, Francesco, <a href = "#page46">46</a></p>
+<p>Gubitz, Frederich W., <a href = "#page67">67</a></p>
+
+<p class = "space">
+Hogarth, William, <a href = "#page17">17</a></p>
+<p>Hollis, Thomas, <a href = "#page48">48</a>,
+<a href = "#page49">49</a></p>
+
+<p class = "space">
+<i>Istoria del Testamento Vecchio e Nuovo</i>,
+<a href = "#page26">26</a></p>
+
+<p class = "space">
+Jackson, John Baptist</p>
+<p class = "inset">
+contributions to chiaroscuro and color woodcut,
+<a href = "#page5">5</a>,
+<a href = "#page6">6</a>,
+<a href = "#page12">12</a>,
+<a href = "#page68">68</a></p>
+<p class = "inset">
+critical opinions of his work, <a href = "#page7">7</a>,
+51-54</p>
+<p class = "inset">
+first work in chiaroscuro, <a href = "#page11">11</a>,
+<a href = "#page12">12</a>,
+<a href = "#page23">23</a></p>
+<p class = "inset">
+birth, <a href = "#page14">14</a></p>
+<p class = "inset">
+training, <a href = "#page14">14</a>,
+<a href = "#page15">15</a></p>
+<p class = "inset">
+early work in London, <a href = "#page15">15</a>,
+<a href = "#page17">17</a></p>
+<p class = "inset">
+arrival in Paris, <a href = "#page17">17</a></p>
+<p class = "inset">
+association with Papillon, 18-22</p>
+<p class = "inset">
+association with de Caylus and Crozat, <a href = "#page22">22</a>,
+<a href = "#page23">23</a></p>
+<p class = "inset">
+Papillon’s criticism of Jackson, <a href = "#page19">19</a>,
+<a href = "#page20">20</a></p>
+<p class = "inset">
+arrival in Venice, <a href = "#page25">25</a></p>
+<p class = "inset">
+association with Zanetti, <a href = "#page25">25</a>,
+<a href = "#page26">26</a></p>
+<p class = "inset">
+first chiaroscuros in Venice, <a href = "#page26">26</a></p>
+<p class = "inset">
+first chiaroscuro reproducing a painting, <a href = "#page27">27</a></p>
+<p class = "inset">
+early plans for wallpaper, <a href = "#page30">30</a></p>
+<p class = "inset">
+influence of line engraving, <a href = "#page29">29</a>,
+<a href = "#page30">30</a></p>
+<p class = "inset">
+association with Joseph Smith, <a href = "#page30">30</a>,
+<a href = "#page31">31</a>,
+<a href = "#page32">32</a></p>
+<p class = "inset">
+production of the Venetian set, <a href = "#page31">31</a>,
+<a href = "#page32">32</a>,
+<a href = "#page33">33</a></p>
+<p class = "inset">
+production of the Ricci set, his first prints in full color,
+<a href = "#page33">33</a>,
+<a href = "#page35">35</a>,
+<a href = "#page36">36</a></p>
+</td>
+<td>
+<p class = "inset">
+use of embossing, <a href = "#page33">33</a>,
+<a href = "#page36">36</a></p>
+<span class = "pagenum">182b</span>
+<p class = "inset">
+marriage, <a href = "#page40">40</a></p>
+<p class = "inset">
+return to England, <a href = "#page40">40</a></p>
+<p class = "inset">
+designs for calico, <a href = "#page40">40</a></p>
+<p class = "inset">
+career as a maker of wallpaper, 40-50</p>
+<p class = "inset">
+publication of <i>An Enquiry into the Origins of Printing in Europe</i>,
+<a href = "#page41">41</a></p>
+<p class = "inset">
+publication of <i>An Essay on the Invention of Engraving and Printing in
+Chiaro Oscuro</i>, <a href = "#page43">43</a></p>
+<p class = "inset">
+pioneer of scenic wallpaper, <a href = "#page46">46</a>,
+<a href = "#page47">47</a></p>
+<p class = "inset">
+album ascribed to him, <a href = "#page48">48</a></p>
+<p class = "inset">
+collapse of wallpaper venture, <a href = "#page48">48</a>,
+<a href = "#page49">49</a></p>
+<p class = "inset">
+meeting with Bewick, <a href = "#page49">49</a>,
+<a href = "#page59">59</a></p>
+<p class = "inset">
+last days, <a href = "#page50">50</a></p>
+<p class = "inset">
+Walpole’s criticism, <a href = "#page51">51</a></p>
+<p>Janinet, Jean François, <a href = "#page4">4</a></p>
+<p>Japanese woodcuts, <a href = "#page4">4</a>,
+<a href = "#note30">33n</a>,
+<a href = "#page36">36</a></p>
+<p>Jegher, Christoffel, <a href = "#page11">11</a></p>
+<p>Jones, Inigo, <a href = "#page46">46</a></p>
+
+<p class = "space">
+Kirkall, Elisha, <a href = "#page5">5</a>,
+<a href = "#page11">11</a>,
+<a href = "#page14">14</a>,
+<a href = "#page15">15</a>,
+<a href = "#page22">22</a>,
+<a href = "#page33">33</a>,
+<a href = "#page41">41</a></p>
+<p>Knapton, George, <a href = "#page33">33</a></p>
+
+<p class = "space">
+Lallemand, George, <a href = "#page11">11</a>,
+<a href = "#page28">28</a></p>
+<p>Lancret, Nicolas, <a href = "#page47">47</a></p>
+<p>Le Blon, Jacob Christoph, <a href = "#page36">36</a>,
+<a href = "#page39">39</a></p>
+<p>Le Clerc, Sébastien, <a href = "#page18">18</a>,
+<a href = "#page19">19</a>,
+<a href = "#page30">30</a></p>
+<p>Le Sueur, Nicolas, <a href = "#page11">11</a>,
+<a href = "#page22">22</a>,
+<a href = "#page23">23</a>,
+<a href = "#page28">28</a>,
+<a href = "#page45">45</a></p>
+<p class = "inset">
+Vincent, <a href = "#page11">11</a>,
+<a href = "#page18">18</a>,
+<a href = "#page23">23</a>,
+<a href = "#page45">45</a></p>
+<p>Lethieullier, Smart, <a href = "#page31">31</a></p>
+<p>Lewis, John, <a href = "#page23">23</a>,
+<a href = "#page25">25</a></p>
+<p><i>Liber selectarum cantionum</i>, Senfel,
+<a href = "#note5">7n</a></p>
+<p>Lorrain, Claude, <a href = "#page45">45</a></p>
+
+<p class = "space">
+Mantegna, Andrea, <a href = "#note11">12n</a></p>
+<p>Mariette, Pierre-Jean, <a href = "#page25">25</a>,
+<a href = "#page26">26</a>,
+<a href = "#page28">28</a></p>
+<p>Mattaire’s <i>Latin Classics</i>, <a href = "#page14">14</a>,
+<a href = "#page31">31</a></p>
+
+<span class = "pagenum">183</span>
+<a name = "page183" id = "page183"> </a>
+<!-- png 201 -->
+
+<p>Mellan, Claude, <a href = "#page30">30</a></p>
+<p>Moreelse, Paulus, <a href = "#page11">11</a></p>
+<p>Moretti, Giuseppe Maria, <a href = "#page25">25</a>,
+<a href = "#page45">45</a></p>
+<p>Munch, Edvard, <a href = "#page4">4</a>,
+<a href = "#page54">54</a></p>
+
+<p class = "space">
+Negker, Jost de, <a href = "#page10">10</a></p>
+<p>Newdigate, Sir Roger, <a href = "#note29">32n</a></p>
+
+<p class = "space">
+Pannini, Giovanni Paolo, <a href = "#page45">45</a>,
+<a href = "#page46">46</a>,
+<a href = "#page47">47</a></p>
+<p>Papillon, Jean (father of J. M.), <a href = "#page19">19</a>,
+<a href = "#page21">21</a>,
+<a href = "#page22">22</a></p>
+<p class = "inset">
+Jean Michel, <a href = "#page6">6</a>,
+<a href = "#page14">14</a>,
+<a href = "#page15">15</a>,
+<a href = "#page18">18</a>,
+<a href = "#page19">19</a>,
+<a href = "#page20">20</a>,
+<a href = "#page21">21</a>,
+<a href = "#page22">22</a>,
+<a href = "#page23">23</a>,
+<a href = "#page24">24</a>,
+<a href = "#page28">28</a>,
+<a href = "#page35">35</a></p>
+<p>Parmigianino, <a href = "#page10">10</a>,
+<a href = "#page22">22</a>,
+<a href = "#page26">26</a>,
+<a href = "#page44">44</a></p>
+<p>Pasquali, J. B., <a href = "#page32">32</a>,
+<a href = "#page40">40</a></p>
+<p>Pezzana, <a href = "#page27">27</a>,
+<a href = "#page28">28</a>,
+<a href = "#page29">29</a></p>
+<p>Piranesi, Giovanni Battista, <a href = "#page46">46</a></p>
+<p>Pond, Arthur, <a href = "#page33">33</a></p>
+<p>Poussin, Nicolas, <a href = "#page45">45</a></p>
+
+<p class = "space">
+Raphael, <a href = "#page10">10</a>,
+<a href = "#page11">11</a>,
+<a href = "#page22">22</a>,
+<a href = "#page23">23</a>,
+<a href = "#page44">44</a></p>
+<p>Ratdolt, Erhard, <a href = "#note5">7n</a></p>
+<p>Rembrandt, <a href = "#page4">4</a>,
+<a href = "#page31">31</a>,
+<a href = "#page32">32</a></p>
+<p>Ricci, Marco, <a href = "#page6">6</a>,
+<a href = "#page35">35</a>,
+<a href = "#page36">36</a>,
+<a href = "#page46">46</a>,
+<a href = "#page47">47</a>,
+<a href = "#page53">53</a></p>
+<p>Robert, P. P. A., <a href = "#page22">22</a></p>
+<p>Romano, Giulio, <a href = "#page11">11</a>,
+<a href = "#page23">23</a></p>
+<p>Rosa, Salvator, <a href = "#page45">45</a></p>
+<p>Rubens, Peter Paul, <a href = "#page27">27</a></p>
+
+<p class = "space">
+Sadeler, Egidius, <a href = "#page29">29</a></p>
+<p>Salviati, Francesco, <a href = "#page44">44</a></p>
+<p>Savage, William, <a href = "#page67">67</a></p>
+<p>Simonini, Francesco (erroneously called “Simonnetta”),
+<a href = "#page42">42</a></p>
+<span class = "pagenum">183b</span>
+<p>Skippe, John, <a href = "#note56">68n</a></p>
+<p>Smith, Joseph, <a href = "#page30">30</a>,
+<a href = "#page31">31</a></p>
+<p>Suetonius’ <i>Lives of the Twelve Caesars</i>,
+<a href = "#page29">29</a>,
+<a href = "#page34">34</a>,
+<a href = "#page48">48</a></p>
+<p>Swaine, J. B., <a href = "#page49">49</a></p>
+
+<p class = "space">
+Tintoretto, <a href = "#page32">32</a></p>
+<p>Titian, <a href = "#page11">11</a>,
+<a href = "#page29">29</a>,
+<a href = "#page32">32</a>,
+<a href = "#page44">44</a></p>
+<p><i>Traité historique et pratique de la gravure en bois</i>,
+<a href = "#page6">6</a>,
+<a href = "#page14">14</a>,
+<a href = "#page19">19</a>,
+<a href = "#page20">20</a>,
+<a href = "#page21">21</a></p>
+<p>Trento, Antonio da, <a href = "#page10">10</a></p>
+
+<p class = "space">
+“Urban, Sylvanus,” <a href = "#page41">41</a></p>
+
+<p class = "space">
+Vallotton, Felix, <a href = "#page4">4</a></p>
+<p>Velasquez, <a href = "#page42">42</a></p>
+<p>Vernet, Claude Joseph, <a href = "#page47">47</a></p>
+<p>Veronese, <a href = "#page52">52</a></p>
+<p>Verus, Justus, <a href = "#page45">45</a></p>
+<p>Vicentino, Giuseppe Niccolò, <a href = "#page10">10</a>,
+<a href = "#page44">44</a></p>
+<p>Villamena, Francesco, <a href = "#page30">30</a></p>
+<p>Vouet, Simon, <a href = "#page11">11</a></p>
+
+<p class = "space">
+Wallpaper, first use in England, <a href = "#page40">40</a></p>
+<p>Walpole, Horace, <a href = "#page8">8</a>,
+<a href = "#page31">31</a>,
+<a href = "#page51">51</a></p>
+<p>Ward, Dr. John, <a href = "#page49">49</a></p>
+<p>Wechtlin, Hans, <a href = "#page10">10</a></p>
+<p>Weiditz, Hans, <a href = "#note5">7n</a></p>
+<p>Whistler, James M., <a href = "#note1">5n</a></p>
+<p>Wouwerman, Philips, <a href = "#page45">45</a></p>
+<p>Wrey, Sir Bouchier, <a href = "#note29">32n</a></p>
+
+<p class = "space">
+Zanetti, Count Antonio Maria, <a href = "#page11">11</a>,
+<a href = "#page25">25</a>,
+<a href = "#page26">26</a>,
+<a href = "#page45">45</a></p>
+<p>Zuccarelli, Francesco, <a href = "#page46">46</a></p>
+</td>
+</tr>
+</table>
+
+<div class = "endnote">
+
+<h4><a name = "picnotes" id = "picnotes">
+About the Illustrations</a></h4>
+
+<p>The first few illustrations were labeled “Actual Size”. The exact
+size of images on a computer screen depends largely on your monitor
+type; settings can generally not be changed without affecting other
+aspects of the display. The scale shown here was used for all “actual
+size” illustrations. It may appear slightly larger or smaller than
+intended.</p>
+
+<p>
+<img src = "images/ruler.gif" width = "342" height = "46"
+alt = "ruler showing inches and cm"></p>
+
+<p>Some Plates were printed out of sequence, apparently for technical
+reasons. They have been changed to numerical order; marginal page
+numbers show the original arrangement. The color Plates were printed in
+a block after the first page of the Postscript, at the mid-sentence
+point “sentimental, / banal”. This entire group has been placed after
+the black-and-white Plates. The absence of a Plate&nbsp;4 is explained
+by the catalog entry.</p>
+
+<p>Plates in two or three parts were printed on facing pages or
+fold-outs. Combined views have been added by the transcriber, as was the
+split view of Plate 44.</p>
+
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
+
+*** END OF THIS PROJECT GUTENBERG EBOOK JOHN BAPTIST JACKSON ***
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+</body>
+</html>
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diff --git a/LICENSE.txt b/LICENSE.txt
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@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #22263 (https://www.gutenberg.org/ebooks/22263)
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@@ -0,0 +1,5491 @@
+The Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: John Baptist Jackson
+       18th-Century Master of the Color Woodcut
+
+Author: Jacob Kainen
+
+Release Date: August 7, 2007 [EBook #22263]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK JOHN BAPTIST JACKSON ***
+
+
+
+
+Produced by Louise Hope, Chris Curnow, Joseph Cooper and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+  [Transcriber's Note:
+
+  This text is intended for users whose text readers cannot use the
+  "real" (unicode/utf-8) version of the file. Accents on non-English
+  names have generally been omitted; German umlauts are given in
+  two-letter form as "oe", "ue".  Fractions have been expanded: 9-3/4
+  x 6-1/2.
+
+  Details about the "Inscriptions" in the "Prints by Jackson" section
+  of catalog are given at the beginning of that section.]
+
+
+
+
+  SMITHSONIAN INSTITUTION
+  UNITED STATES NATIONAL MUSEUM
+
+    [Illustration:
+    Smithsonian symbol]
+
+  BULLETIN 222
+  WASHINGTON, D.C.
+  1962
+
+
+
+
+  United States Government Printing Office, Washington, 1962
+
+  For sale by the Superintendent of Documents,
+  U.S. Government Printing Office
+
+  Washington 25, D.C.
+
+
+
+
+            _John Baptist Jackson:_
+
+              18th-Century Master
+              of the Color Woodcut
+
+
+
+                 _Jacob Kainen_
+
+            Curator of Graphic Arts
+        Museum of History and Technology
+
+
+
+
+_Publications of the United States National Museum_
+
+
+The scholarly publications of the United States National Museum include
+two series, _Proceedings of the United States National Museum_ and
+_United States National Museum Bulletin_.
+
+In these series are published original articles and monographs dealing
+with the collections and work of the Museum and setting forth newly
+acquired facts in the fields of Anthropology, Biology, History, Geology,
+and Technology. Copies of each publication are distributed to libraries
+and scientific organizations and to specialists and others interested in
+the different subjects.
+
+The _Proceedings_, begun in 1878, are intended for the publication in
+separate form, of shorter papers. These are gathered in volumes, octavo
+in size, with the publication date of each paper recorded in the table
+of contents of the volume.
+
+In the _Bulletin_ series, the first of which was issued in 1875, appear
+longer, separate publications consisting of monographs (occasionally in
+several parts) and volumes in which are collected works on related
+subjects. _Bulletins_ are either octavo or quarto in size, depending on
+the needs of the presentation. Since 1902 papers relating to the
+botanical collections of the Museum have been published in the
+_Bulletin_ series under the heading _Contributions from the United
+States National Herbarium_.
+
+This work forms number 222 of the _Bulletin_ series.
+
+  REMINGTON KELLOGG
+
+  _Director, United States National Museum_
+
+
+
+
+CONTENTS
+
+                                                          _Page_
+
+  _Preface_                                                  IX
+  Jackson and his Tradition                                   3
+    _The Woodcut Tradition_                                   4
+    _Status of the Woodcut_                                   7
+    _The Chiaroscuro Tradition_                               9
+  Jackson and his Work                                       13
+    _England: Obscure Beginnings_                            14
+    _Paris: Perfection of a Craft_                           17
+    _Venice: The Heroic Effort_                              25
+    _England Again: The Wallpaper Venture_                   40
+  _Critical Opinion_                                         51
+  _Postscript_                                               54
+  Catalog                                                    69
+    _Prints by Jackson_                                      71
+    _Jackson's Workshop_                                     90
+    _Unverified Subjects_                                    95
+  The Chiaroscuros and Color Woodcuts                        97
+  _Bibliography_                                            171
+  _Index to Plates_                                         177
+  _Index_                                                   181
+
+
+
+
+_PREFACE_
+
+
+John Baptist Jackson has received little recognition as an artist. This
+is not surprising if we remember that originality in a woodcutter was
+not considered a virtue until quite recently. We can now see that he was
+more important than earlier critics had realized. He was the most
+adventurous and ambitious of earlier woodcutters and a trailblazer in
+turning his art resolutely in the direction of polychrome.
+
+To 19th century writers on art, from whom we have inherited the bulk of
+standard catalogs, lexicons, and histories-- along with their
+judgments-- Jackson's work seemed less a break with tradition than a
+corruption of it. His chiaroscuro woodcuts (prints from a succession of
+woodblocks composing a single subject in monochrome light and shade)
+were invariably compared with those of the 16th century Italians and
+were usually found wanting. The exasperated tone of many critics may
+have been the result of an uneasy feeling that he was being judged by
+the wrong standards. The purpose of this monograph, aside from providing
+the first full-length study of Jackson and his prints, is to examine
+these standards. The traditions of the woodcut and the color print will
+therefore receive more attention than might be expected, but I feel that
+such treatment is essential if we are to appreciate Jackson's
+contribution, in which technical innovation is a major element.
+
+Short accounts of Jackson have appeared in almost all standard
+dictionaries of painters and engravers and in numerous historical
+surveys, but these have been based upon meager evidence. A fraction of
+his work was usually known and details of his life were, and still are,
+sparse. Later writers interpreting the comments of their predecessors
+have repeated as fact much that was conjecture. The picture of Jackson
+that has come down to us, therefore, is unclear and fragmentary.
+
+If he does not emerge from this study completely accounted for from
+birth to death, it has not been because of lack of effort. Biographical
+data for his early and late life-- about fifty years in all-- are almost
+entirely missing despite years of diligent search. As a man he remains a
+shadowy figure. I have traced Jackson's life as far as the available
+evidence will permit, quoting from the writings of the artist and his
+contemporaries at some length to convey an essential flavor, but I have
+refrained from filling in gaps by straining at conjecture.
+
+While details of his life are vague, sufficient information is at hand
+to reconstruct his personality clearly enough. After all, Jackson wrote
+a book and was quoted at length in another. A contemporary
+fellow-practitioner wrote about him with considerable feeling. These and
+other sources give a good indication of the artist's character.
+
+The man we have to deal with had something excessive about him; he was
+headstrong, tactless, impractical, enormously energetic, a prodigious
+worker, a conceiver of grandiose projects, and a relentless hunter of
+patrons. He was at home with his social superiors and had some
+pretentions to literary culture, he had a coarse gift for the vivid
+phrase in writing, and his tastes in art ran to the classic and heroic.
+
+This study includes an illustrated catalog of Jackson's chiaroscuros and
+color prints. Previous catalogs, notably those of Nagler, Le Blanc, and
+Heller, have listed no more than twenty-five works. The present catalog
+more than triples this number.
+
+To acknowledge fully the assistance given by museum curators,
+librarians, archivists, and scholars on both sides of the Atlantic would
+necessitate a very long list of names. However, I wish especially to
+thank Mr. Peter A. Wick of the Museum of Fine Arts, Boston, who has been
+generous enough to allow me to read his well-documented paper on
+Jackson's Ricci prints; Mr. A. Hyatt Mayor of the Metropolitan Museum of
+Art; Mr. Carl Zigrosser of the Philadelphia Museum of Art; Miss Anna
+C. Hoyt and Mrs. Anne B. Freedberg of the Museum of Fine Arts, Boston;
+Dr. Jakob Rosenberg and Miss Ruth S. Magurn of the Fogg Art Museum; Mr.
+Karl Kup of the New York Public Library; Miss Elizabeth Mongan of the
+Rosenwald Collection, National Gallery of Art; Miss Una E. Johnson of
+the Brooklyn Museum; Mr. Gustave von Groschwitz of the Cincinnati Art
+Museum; and Dr. Philip W. Bishop of the U.S. National Museum,
+Smithsonian Institution.
+
+I am particularly grateful to curators of European collections, who have
+been uniformly generous in their assistance. Special thanks are due Mr.
+J. A. Gere of the British Museum and Mr. James Laver of the Victoria and
+Albert Museum, who have gone to considerable trouble to acquaint me with
+their great collections. Others whose help must be particularly noted
+are Mr. Peter Murray, Courtauld Institute of Art, University of London;
+Mme. R. Maquoy-Hendrickx of the Bibliotheque Royale de Belgique,
+Brussels; Dr. Vladimir Novotny of the Narodni Galerie, Prague; Dr.
+Wegner of the Graphische Sammlung, Munich; Dr. Wolf Stubbe of the
+Kunsthalle, Hamburg; Dr. G. Busch of the Kunsthalle, Bremen; Dr. Hans
+Moehle of the Staatliche Museen, Berlin; Dr. Menz of the Staatliche
+Kunstsammlungen, Dresden; Miss B. L. D. Ihle of the Boymans Museum,
+Rotterdam; and M. Jean Adhemar of the Bibliotheque Nationale, Paris.
+
+The excellent collections of chiaroscuro prints in the Museums of the
+Smithsonian Institution have formed a valuable basis for this monograph.
+These prints include the set of Jackson's Venetian chiaroscuros,
+originally owned by Jackson's patron, Joseph Smith, British Consul in
+Venice, now in the Rosenwald Collection, National Gallery of Art, and
+the representative sampling of Jackson's work in the Division of Graphic
+Arts, U.S. National Museum.
+
+I am indebted to the following museums which have kindly given
+permission to reproduce Jackson prints in their collections. These are
+listed by catalog number.
+
+  Smithsonian Institution 16, 18, 19, 20, 21, 22 (also in color), 24,
+  25, 26, 27, 28, 29, 30, 39, 50, 51, 52, 53 (also in color), 54, 55,
+  56, 57, 58, 63
+
+  Museum of Fine Arts, Boston (W. G. Russell Allen Estate) 1 (also in
+  color), 11, 14, 23, 33, 34, 38, 40 (also in color)
+
+  Fogg Art Museum 13 (also in color)
+
+  Worcester Art Museum 32
+
+  Metropolitan Museum of Art 5 (Rogers Fund) (also in color), 17, 31
+  (gift of Winslow Ames), 73 (Whittelsey Fund)
+
+  Philadelphia Museum of Art (John Frederick Lewis Collection) 2, 60,
+  61, 62, 64, 65, 66, 67, 68, 74
+
+  British Museum 2 (in color), 6, 7, 8, 9, 10, 12, 15, 37, 41, 42, 43
+  (also in color), 44, 45, 46, 47, 48, 49 (also in color), 59, 69, 70,
+  71, 72, 75, 76 (photographs by John R. Freeman & Co.)
+
+  Victoria and Albert Museum (Crown copyright) 3, 35, 36, 40
+
+Finally, I want to thank the Editorial Office of the Smithsonian
+Institution for planning and designing this book; the Government
+Printing Office for their special care in its production; and Mr. Harold
+E. Hugo for his expert supervision of the color plates.
+
+A grant from the American Philosophical Society (Johnson Fund), made it
+possible to conduct research on Jackson in Europe. Acknowledgment is
+herewith gratefully given.
+
+  JACOB KAINEN
+
+  _Smithsonian Institution_
+
+  _September 1, 1961_
+
+
+
+
+_John Baptist Jackson_
+
+18th-Century Master
+
+of the Color Woodcut
+
+
+
+
+Jackson and His Tradition
+
+
+_The Woodcut Tradition_
+
+Although the woodcut is the oldest traditional print medium it was the
+last to win respectability as an art form. It had to wait until the
+1880's and 1890's, when Vallotton, Gauguin, Munch, and others made their
+first unheralded efforts, and when Japanese prints came into vogue, for
+the initial stirrings of a less biased attitude toward this medium, so
+long considered little more than a craft. With the woodcut almost
+beneath notice it is understandable that Jackson's work should have
+failed to impress art historians unduly until recent times. Although he
+bore the brunt as an isolated prophet and special pleader between 1725
+and 1754, his significance began to be appreciated only after the turn
+of the 20th century, first perhaps by Martin Hardie in 1906, and next
+and more clearly by Pierre Gusman in 1916 and Max J. Friedlaender in
+1917, when modern artists were committing heresies, among them the
+elevation of the woodcut to prominence as a first-hand art form. In this
+iconoclastic atmosphere Jackson's almost forgotten chiaroscuros no
+longer appeared as failures of technique, for they had been so regarded
+by most earlier writers, but as deliberately novel efforts in an
+original style. The innovating character of his woodcuts in full color
+was also given respectful mention for the first time. But these were
+brief assessments in general surveys.
+
+If the woodcut was cheaply held, it was at least acceptable for certain
+limited purposes. But printing pictures in color, in any medium, was
+considered a weakening of the fiber-- an excursion into prettification
+or floridity. It was not esteemed in higher art circles, except for a
+short burst at the end of the 18th century in France and England. This
+was an important development, admittedly, and the prints were coveted
+until quite recently. They are still highly desirable. But while
+Bartolozzi stipple engravings or Janinet aquatints in color might have
+commanded higher prices than Callots or Goyas, or even than many Duerers
+and Rembrandts, no one was fooled. The extreme desirability of the color
+prints was mostly a matter of interior decoration: nothing could give a
+finer 18th century aura. It was not so much color printing that
+mattered; it was _late 18th century_ color printing that was wanted,
+often by amateurs who collected nothing else. Color prints before and
+after this period did not appeal to discriminating collectors except as
+rarities, as exotic offshoots. Even chiaroscuros, with their few sober
+tones, fell into this periphery. Jackson, as a result, was naturally
+excluded from the main field of attention.
+
+The worship of black-and-white as the highest expression of the graphic
+arts[1] automatically placed printmakers in color in one of two
+categories: producers of abortive experiments, or purveyors of popular
+pictures to a frivolous or sentimental public. This estimate was
+unfortunately true enough in most cases, true enough at least to cause
+the practice to be regarded with suspicion. As an indication of how
+things have changed in recent years we can say that color is no longer
+the exception. It threatens, in fact, to become the rule, and
+black-and-white now fights a retreating battle. A comparison of any
+large exhibition today with one of even 20 years ago will make this
+plain.
+
+    [Footnote 1: The purist's attitude was pungently expressed by
+    Whistler. Pennell records this remark: "Black ink on white paper
+    was good enough for Rembrandt; it ought to be good enough for
+    you." (Joseph Pennell, _The Graphic Arts_, Chicago, 1921, p.
+    178.)]
+
+At first glance Jackson seems to be simply a belated 18th-century worker
+in the chiaroscuro process. If to later generations his prints had a
+rather odd look, this was to be expected. Native qualities, even a
+certain crudeness, were expected from the English who lacked advantages
+of training and tradition. And Jackson was not only the first English
+artist who worked in woodcut chiaroscuro, he was virtually the first
+woodblock artist in England to rise beyond anonymity[2] (Elisha Kirkall,
+as we shall see, cannot positively be identified as a wood engraver) and
+he was the only one of note until Thomas Bewick arose to prominence
+about 1780. He was, then, England's first outstanding woodcutter. We
+will find other instances of his significance from the English
+standpoint, but his being English, of course, would have a small part in
+explaining the importance of his prints.
+
+    [Footnote 2: The only earlier name is that of George Edwards.
+    Oxford University has most of the blocks for a decorated alphabet
+    he engraved on end-grain wood for Dr. Fell in 1674. Further data
+    on Edwards can be found in Harry Carter's _Wolvercote Mill_,
+    Oxford, 1957, pp. 14, 15, 20, and in Moxon's _Mechanick Exercises,
+    or the Doctrine of Handy Works Applied to the Art of Printing_.
+    (Reprint of 1st ed., 1683, edited and annotated by Herbert Davis
+    and Harry Carter, Oxford, 1958, p. 26n.)]
+
+Jackson made, in fact, the biggest break in the traditions of the
+woodcut since the 16th century. He broadened the scope of the
+chiaroscuro print and launched the color woodcut as a distinct art form
+that rivaled the polychrome effects of painting while retaining a
+character of its own. These were not modest little pieces of purely
+technical interest. The set of 24 sheets reproducing 17 paintings by
+Venetian masters made up the most heroic single project in chiaroscuro,
+and the 6 large landscapes, completed in 1744, after gouache paintings
+by Marco Ricci, were the most impressive color woodcuts in the Western
+world between the 16th century and the last decade of the 19th.
+
+But Jackson's grand ambition to advance the woodcut beyond all other
+graphic media had little public or private support and finally led him
+to ruin. His efforts were made with insufficient means and with few
+patrons. As a consequence, he rarely printed editions after the blocks
+were cut and proofed. The Venetian set is well known because it was
+printed in a substantial edition. A few additional subjects were also
+sponsored by patrons, but most of Jackson's other chiaroscuros were
+never published-- they were limited to a few proofs. Editions were
+postponed, no doubt, in the hope that a patron would come along to pay
+expenses in return for a formal dedication in Latin, but this did not
+often happen. Most subjects exist in a few copies only; of some, single
+impressions alone remain. Others have entirely disappeared.
+
+With a large part of Jackson's work unknown, his reputation settled into
+an uneasy obscurity which, it must be granted, has not prevented his
+work from being collected. The chiaroscuros, especially the Venetian
+prints, can be found in many leading collections in Europe and the
+United States, but the full-color sheets after Ricci are excessively
+rare, particularly in complete sets.
+
+Jackson has long been considered an interesting figure. _His Essay on
+the Invention of Engraving and Printing in Chiaro Oscuro_...,[3] with
+its bold claims to innovation and merit, his adventurous career as an
+English woodcutter in Europe, his adaptation of the color woodcut to
+wallpaper printing and his pioneering efforts in this field, and
+Papillon's immoderate attack on him in the important _Traite historique
+et pratique de la gravure en bois_[4] will be discussed later. For the
+moment we can say that the Essay was the first book by an Englishman
+with color plates since the _Book of St. Albans_ of 1486, with its
+heraldic shields in three or four colors, and the first book with
+block-print plates in naturalistic colors.[5]
+
+    [Footnote 3: Jackson, London, 1754. Hereafter cited as Essay.
+    Other references bearing directly on Jackson will receive only
+    partial citation in the text. They are given in full in the
+    bibliography, page 171.]
+
+    [Footnote 4: Papillon, Paris, 1766. Hereafter cited as the
+    _Traite_.]
+
+    [Footnote 5: Occasional book illustrations in two or three
+    colors, confined chiefly to initial letters and ornamental
+    borders, appeared as early as the 15th century. Ratdolt in 1485
+    printed astronomical diagrams in red, orange, and black, and used
+    similar colors in a Crucifixion in the _Passau missal_ of 1494.
+    The _Liber selectarum cantionum_ of Senfel, 1520, however, has a
+    frontispiece printed in a broad range of colors from more than
+    four woodblocks. The design is attributed to Hans Weiditz.]
+
+Although critics have been interested in Jackson as an historical
+figure, they have been uncertain about the merit of his work. Opinions
+vary surprisingly. Most judgments were based on the Venetian
+chiaroscuros and depended upon the quality of impressions, many of which
+are poor. Criticisms when they have been adverse have been surprisingly
+harsh. It is unusual, to say the least, for writers to take time
+explaining how bad an artist is. To do this implies, in any case, that
+he warrants serious attention; space in histories is not usually wasted
+on nonentities. We can see now that Jackson was misunderstood because
+the uses of the woodcut were rigidly circumscribed by tradition.
+
+
+_Status of the Woodcut_
+
+After the 15th century the woodcut lost its primitive power and became a
+self-effacing medium for creating facsimile impressions of drawings and
+for illustrating and decorating books, periodicals, and cheap popular
+broadsides. At its lowest ebb, in the late 17th century, and in the
+18th, it was used to make patterns for workers in embroidery and
+needlework and to supply outlines for wallpaper designs to be filled in
+later by "paper-stainers."
+
+The prime deficiency of the woodcut as an art form lay in the division
+of labor which the process permitted. Draughtsmen usually drew on the
+blocks; the main function of the cutter was to follow the lines
+precisely and carefully. Small room existed for individual style or
+original interpretation; there was little in the technique to
+distinguish one cutter from another. In spite of these limitations,
+gifted cutters could rise beyond the dead level of ordinary practice. As
+fine draughtsmen with a feeling for their materials they did not trace
+with the knife, they drew and carved with it. Their feeling for line and
+shape was sensitive, crisp, and supple. But although they created the
+masterpieces of the medium they suffered from the traditional contempt
+for their craft. Creative ability in a woodcutter was rarely recognized,
+and the art fell into gradual decline. By the time the 18th century
+opened it had been almost entirely abandoned as a means of creating and
+interpreting works of art, and had been relegated to a minor place among
+the print processes.
+
+The attitude of the print connoisseur was clearly stated as early as
+1762 by Horace Walpole:[6]
+
+  I have said, and for two reasons, shall say little of wooden cuts;
+  that art never was executed in any perfection in England: engraving
+  on metal was a final improvement of the art, and supplied the
+  defects of cuttings in wood. The ancient wooden cuts were certainly
+  carried to a great heighth, but that was the merit of the masters,
+  not of the method.
+
+    [Footnote 6: Walpole, 1765 (1st ed. 1762), p. 3.]
+
+William Gilpin in 1768 went even further. Describing the various
+contemporary print processes he omitted the woodcut entirely as not
+worthy of consideration. He acknowledged that "wooden cuts" were once
+executed by early artists but made no additional reference to the
+medium.[7]
+
+    [Footnote 7: William Gilpin, _An Essay on Prints_, London, 1781
+    (1st ed. 1768), p. 47. "There are three kinds of prints,
+    engravings, etchings, and mezzotintos."]
+
+As late as 1844 Maberly[8] cautioned print amateurs to steer clear of
+block prints:
+
+  Prints, from wooden blocks, are much less esteemed, or, at least,
+  are, generally speaking, of greatly less cost than engravings on
+  copper; and there are connoisseurs who may, perhaps, consider them
+  as rather derogatory to a fine collection.
+
+    [Footnote 8: Maberly, 1844, p. 130.]
+
+Specialized histories of wood engraving, written mainly by 19th-century
+practitioners and bibliophiles, have tended to emphasize literal
+rendition rather than artistic vision. The writers favored wood
+engraving executed with the burin on the end grain of hard dense wood,
+such as box or maple, because it could produce finer details than the
+old woodcut, which made use of knife and horizontally grained wood. They
+judged by narrow craft standards concerned with exact imitation of
+surface textures. Linton, for example, is almost contemptuous in his
+references to the chiaroscuro woodcut:[9]
+
+  ... The poorest workman may suffice for an excellent chiaroscuro.
+  I do not depreciate the artistic value as chiaroscuros of the
+  various prints here noted nor underestimate the difficulty of
+  production; but my business has been solely with the not difficult
+  knifecutting and graver cutting of the same.
+
+    [Footnote 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 Duerer 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!]
+
+
+_The Chiaroscuro Tradition_
+
+The chiaroscuro woodcut was originally designed to serve a special
+purpose, to reproduce drawings of the Renaissance period. These were
+often made with pen and ink on paper prepared with a tint or with brush
+and wash tones on white or tinted paper. Highlights were made and
+modeled with brush and white pigment; the result had something of a
+bas-relief character. Neither line engraving nor etching was suited to
+reproducing these spirited drawings, but the chiaroscuro woodcut could
+render their effects admirably. Its nature, therefore, was conceived as
+fresh and spontaneous, as printed drawing, in fact.
+
+Chiaroscuros were usually of two types, the German and the Italian. The
+Germans specialized in reproducing line drawings made on toned paper
+with white highlights. The woodcuts, however, could stand by themselves
+as black-and-white prints; the tones required separate printing. The
+typical German chiaroscuro was therefore from two blocks. The earliest
+dated print in this style is Lucas Cranach's _Venus_, with "1506"
+appearing on the black block. But the brown tint might have been added a
+few years later. Jost de Negker, working after drawings by Hans
+Burgkmair, cut blocks which are dated, on the black block at least, as
+early as 1508, and work by Hans Baldung and Hans Wechtlin appeared
+shortly after.
+
+The Italian style originated with Ugo da Carpi, who in 1516 petitioned
+the Senate in Venice to grant him exclusive rights to the chiaroscuro
+process, which he claimed to have invented. For many years, until
+Bartsch adduced proof in favor of the Germans, da Carpi was conceded to
+be the founder of this process. His first work dates from 1518 but
+obviously he produced prints earlier-- how much earlier is uncertain.
+Working mainly after the loose, fresh wash drawings of Raphael and
+Parmigianino he developed a method of reducing their tonal constituents
+to two or three simple areas plus a partial outline, each of which was
+cut on a separate block. The blocks were then inked with transparent
+tones and printed one over the other to achieve gradations. White
+highlights were imitated, as in the German manner, by cutting out lines
+on a tone block to let the white paper assert itself. The result was a
+broadly treated facsimile of the original drawing. Some liberties were
+occasionally taken in interpretation, and sometimes fanciful changes
+were made in color combinations.
+
+This technique was followed in Italy during the remainder of the 1500's,
+the most prominent early workers being Antonio da Trento (Fantuzzi),
+Domenico Beccafumi, and Giuseppe Niccolo Vicentino. Late in the century
+Andrea Andreani acquired a large number of blocks by previous Italian
+chiaroscurists and reissued them, adding his own monogram. By
+multiplying these subjects he reduced their rarity and emphasized their
+distinct character, their difference from other types of prints. The
+Italian term "chiaroscuro," meaning light and dark, has persisted as a
+generic name for this class of work.
+
+The Italian and German techniques were often pursued in variant styles.
+The Germans sometimes used three blocks, with outlines not only in black
+but in a tone and white as well. Burgkmair's _Death as a Strangler_ (B.
+40)[10] and Wechtlin's _Alcon Freeing his Son from the Serpent_ (B. 9)
+are of this type.
+
+    [Footnote 10: Adam Bartsch, _Le Peintre graveur_, Vienna,
+    1803-1821.]
+
+The Italians, in turn, often used two blocks in the German fashion,
+reproducing a complete crosshatched pen drawing with one tint block.
+Even da Carpi used this procedure more than occasionally, as in _St.
+John Preaching in the Desert_ after Raphael (B. XII), and in _The
+Harvest_ after Giulio Romano (B. XII). Most other Italian chiaroscurists
+made frequent use of this method which had the virtue of simplicity.
+Outstanding exponents included Niccolo Boldrini, who worked chiefly
+after drawings by Titian, and in the early 17th century the brothers
+Bartolomeo and G. B. Coriolano. Andreani's prints were usually in a more
+independent style which employed a clear outline in gray or soft brown
+with three tints blocks. While technical procedures were identical in
+Italian and German chiaroscuros after pen drawings, the Italian work
+tended to be looser than the German, which was more careful and
+methodical.
+
+The Italian style, then, strictly interpreted, was simply the da Carpi
+style. Less rigorously considered, it included the free Italian variants
+of the German process.
+
+Hendrick Goltzius of Haarlem, whose first chiaroscuros date from 1588,
+combined both Italian and German influences with marvelously crisp
+drawing and cutting and sharper color combinations than were common.
+Paulus Moreelse, a Dutch artist in the first half of the 17th century,
+employed a dark block in clear outline but modeled his forms internally
+in the da Carpi manner. The technical procedure was therefore close to
+Andreani's.
+
+A number of other well-known artists including Simon Vouet and
+Christoffel Jegher, and quite a few anonymous ones, also turned out
+occasional pieces in the first half of the 17th century, generally in
+the manner of da Carpi or Goltzius. Perhaps the most prolific was
+Ludolph Businck, who created prints in France especially after drawings
+by George Lallemand.
+
+After this period little was done in the medium until 1721, when Count
+Antonio Maria Zanetti in Venice made his first chiaroscuro woodcut. He
+worked consistently for almost thirty years and sent proofs to his
+friends in Europe, mostly important connoisseurs, through whom the
+prints became widely known. For the most part they were in the da Carpi
+style, to which he added a light charm. Between 1722 and 1724 Elisha
+Kirkall in London published twelve chiaroscuros after Italian masters.
+The prints were done in a combination of media-- etching and mezzotint
+with relief blocks in either wood or metal-- and were outside the
+woodcut tradition, but they attracted attention to the old process. In
+about 1726 Nicolas and Vincent Le Sueur in Paris produced some
+chiaroscuros, and a year later Jackson made his first example. The Le
+Sueurs followed da Carpi's method while Jackson used a loosely drawn
+outline and three tint blocks in a slight variation of the Andreani
+style.
+
+One characteristic was shared in common by all early chiaroscurists;
+their work always reproduced drawings, usually in exact size. Jackson
+added a new dimension to the medium in 1735 by beginning to work after
+oil paintings.[11] His attempt to convey their scale, solidity, and
+tonal range, while retaining the woodcut's breadth of execution, was
+perhaps carrying the chiaroscuro into complexities for which it was not
+suited. The method called for extraordinary talents in planning,
+drawing, cutting, and printing, and it resulted in impressions that
+could not escape a certain heaviness of effect when compared with
+traditional work. Jackson's prints in this style are both daring and
+original, but no later woodcutter had either the desire or the temerity
+to follow his example. The method remained a dead end in chiaroscuro.
+
+    [Footnote 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.]
+
+    [Illustration:
+    Tailpiece in _L'Histoire naturelle eclaircie dans une de ses
+    parties principales, l'oryctologie_, by D. d'Argenville, De Bure,
+    Paris, 1755. This is one of the cuts Jackson made between 1725-1730.
+    Actual size.]
+
+
+
+
+Jackson and His Work
+
+
+_England: Obscure Beginnings_
+
+Little is known of Jackson's early years. It is assumed that he was born
+in England about 1700, although many accounts, probably based upon
+Nagler, have him born in 1701. Papillon[12] conjectures that he studied
+painting and engraving on wood with "an English painter" named "Ekwits,"
+but is not sure he remembers the name correctly. He believes this artist
+engraved most of the head pieces and ornaments in Mattaire's _Latin
+Classics_, published by J. and R. Tonson and J. Watts in London, 1713,
+and remarks on similarities with Jackson's style. Chatto[13] believes
+these cuts were executed by Elisha Kirkall, interpreting the initials
+_EK_ appearing on one of the prints to refer to this engraver rather
+than to "Ekwits." He goes on to assume that Kirkall also engraved the
+blocks for Croxall's edition of _Aesop's Fables_, 1722, by the same
+publisher, and adds that Jackson was probably his apprentice and might
+have had some share in their execution. Most accounts of Jackson, taking
+Chatto's word, note him as a pupil of Kirkall.
+
+    [Footnote 12: Papillon, 1766, vol. 1, p. 323. Most probably
+    Papillon confused "Ekwits" with Elisha Kirkall.]
+
+    [Footnote 13: Chatto and Jackson, 1861 (1st ed. 1839), p. 448.]
+
+Linton[14] believes that only Kirkall or Jackson could have made the
+cuts, "unless some _Sculptor ignotus_ is to be credited with that most
+notable book of graver-work in relief preceding the work of Bewick."
+
+    [Footnote 14: Linton, 1889, p. 130.]
+
+But it is doubtful that Jackson was a pupil of Kirkall. For this
+assumption we have the evidence of a curious and important little book,
+_An Enquiry into the Origins of Printing in Europe_,[15] which because
+of a misleading title and an anonymous author has been overlooked as a
+reference source. It is a transcription of Jackson's manuscript journal
+and was prepared for publication to coincide with the launching of the
+wallpaper venture, Kirkall is mentioned as follows (pp. 25-26):
+
+  ... I shall give a brief account of the State of Cutting on Wood in
+  England for the type Press before he [Jackson] went to France in
+  1725. In the beginning of this Century a remarkable Blow was given
+  to all Cutters on Wood, by an invention of engraving on the same
+  sort of Metal which types are cast with. The celebrated Mr.
+  _Kirkhal_, an able Engraver on Copper, is said to be the first who
+  performed a Relievo Work to answer the use of Cutting on Wood. This
+  could be dispatched much sooner, and consequently answered the
+  purpose of Book-sellers and Printers, who purchased these sort of
+  Works at a much chaper [sic] Rate than could be expected from an
+  Engraver on Wood....
+
+    [Footnote 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."]
+
+It does not seem reasonable that Jackson would learn the art of
+woodcutting from Kirkall and then refer to him as a famous engraver on
+copper and type metal. It is just as difficult to believe that Kirkall
+taught Jackson to work on metal, not wood.
+
+The "EK" who engraved the blocks for Mattaire's _Latin Classics_ might
+very well have been Kirkall, whose style also might have had something
+in common with Jackson's early work. But this would not necessarily
+indicate a definite influence. English pictorial relief prints for book
+illustration in the first decades of the 18th century had one
+characteristic in common; they were almost all done with the engraver's
+burin on type metal or end-grain boxwood. They therefore showed elements
+of a "white-line" style as opposed to the black-line or knife-cut method
+commonly used in other countries. While it is likely that Jackson was an
+exception to the general rule in England (we have his word for it in the
+_Enquiry_, as we shall see), he was also deeply influenced by the
+prevailing English style of burin work on wood or type metal. If
+Papillon saw a similarity between Jackson's cuts and those in the _Latin
+Classics_, it might have been because he was unfamiliar with other
+examples of English work and did not recognize a national style.
+
+The initials "J. B. I." appear on a small cut in the 1717 edition of
+Dryden's plays, also published by Tonson. If this is an early piece by
+Jackson it would indicate that he might have been born earlier than
+1701, although it is conceivable that he could have made it when he was
+sixteen.
+
+This is the extent of the evidence, or rather lack of evidence, of
+Jackson's early years in England. Nothing is certain except that
+woodblock work was at a particularly low ebb. Standards in typography
+and printing were rude (Caslon was just beginning his career), far
+inferior to those on the Continent. Cuts were used rather sparingly by
+printers, and almost always for initial letters (these included little
+pictures), for tailpieces, and for decorative borders. As a measure of
+economy the same cut was often repeated throughout a book. Also, initial
+letters were sometimes contrived to permit the type for different
+capitals to be inserted in the center area, so that in some instances no
+more than two cuts were needed to begin alternate chapters in a volume.
+Rarely were woodblocks employed to illustrate the text. Pictures were
+almost always supplied by the copper-plate engraver, even when the
+prints were small and surrounded with typographical matter. This was an
+expensive and troublesome procedure, but it was the only one possible
+where an able group of cutters or engravers on wood did not exist and
+where printers found it difficult to achieve good impressions on the
+uneven laid paper of the time.
+
+The main employment for knife cutters on wood was in making the popular
+prints, or illustrated broadsides, which had been sold in city and
+village throughout the country since the early 1600's. Plank and knife
+could be used for these prints because of the generally large size of
+the pictures and the lack of sophistication of the audience. They are
+described by Bewick from his memories as a boy in the 1760's:[16]
+
+  I cannot, however, help lamenting that, in all the vicissitudes
+  which the art of wood engraving has undergone, some species of it
+  are lost and done away: I mean the large blocks with the prints from
+  them, so common to be seen, when I was a boy, in every cottage and
+  farm house throughout the country. These blocks, I suppose, from
+  their size, must have been cut on the plank way on beech, or some
+  other kind of close-grained wood; and from the immense number of
+  impressions from them, so cheaply and extensively spread over the
+  whole country, must have given employment to a great number of
+  artists, in this inferior department of woodcutting.... These
+  prints, which were sold at a very low price, were commonly
+  illustrative of some memorable exploits, or were, perhaps, the
+  portraits of eminent men.... Besides these, there were a great
+  variety of other designs, often with songs added to them of a moral,
+  a patriotic, or a rural tendency, which served to enliven the circle
+  in which they were admired. To enumerate the great variety of these
+  _pictures_ would be a task.
+
+    [Footnote 16: Bewick, 1925 (1st ed. London, 1862), pp. 211-212.]
+
+Bewick adds that some of these popular woodcuts, although not the great
+majority, were very good. Since this was the main field for woodcutters,
+it is an interesting conjecture that Jackson might have been trained for
+this craft. As he matured, we can assume that he felt the urge to excel
+as a woodcutter and left the country to develop his potentialities.
+
+It must be remembered that in painting and engraving England was far
+behind the continental countries, which could boast of centuries of
+celebrated masters. The medieval period persisted in England until the
+time of Henry VIII. Traditional religious subjects, so indispensable to
+European art, were thereafter generally proscribed. There was no
+fondness as yet for themes of classical mythology, and the new and
+developing national tradition in painting had to form itself on the only
+remaining field of pictorial expression, portraiture. Standards of style
+were set by foreign artists who were lured to England to record its
+prominent personages in a fitting manner. Beside such masters as
+Holbein, Zuccaro, Moro, Geeraerts, Van Dyck, Mytens, Lely, Kneller,
+Zoffany, and Van Loo, among others, native painters seemed crude and
+provincial. The list of foreign artists other than portraitists who
+visited England before 1750 for varying periods is also impressive.
+
+If good native painters were rare in the first decades of the 18th
+century, good engravers or woodcutters were even rarer. Hogarth, whose
+earliest prints were produced in the 1720's, received his training from
+a silversmith.
+
+Jackson's next move was toward the Continent.
+
+
+_Paris: Perfection of a Craft_
+
+Jackson arrived in Paris in 1725, his age 24 if we accept 1701 as his
+birth date. Here flourished a brilliant community of artists, craftsmen,
+dealers, and connoisseurs; woodcutting, etching, and line engraving were
+highly developed and the printing offices made extensive use of woodcuts
+for decoration and illustration. The woodcut tradition mimicked line
+engraving and was confined chiefly to tiny blocks wrought with the
+utmost delicacy. The main influence came from the 17th century-- in
+particular from the etchings and line engravings of Sebastien Le Clerc
+and from the etchings of Jacques Callot, whose simple system of swelling
+parallel lines, with occasional cross-hatchings, was adopted by both
+line engravers and woodcutters.
+
+Le Clerc, whose style was influenced by Callot, had produced a vast
+number of illustrations involving subjects of almost every type; his
+designs, therefore, were ready-made for publishers who wanted good but
+low-priced illustrations. Woodcutters copied his engravings shamelessly,
+line for line. The overblown high Baroque style in ornament, swag, and
+cartouche was also drawn upon as a source for decorative cuts. In an
+attempt to imitate the full tonal scale of engraving, the woodcutters
+used heavier lines in the foreground to detach the main figures from the
+background, which was made up of more delicate lines. Background lines
+were often narrowed further by scraping down their edges, an operation
+that caused them to merge imperceptibly into the white paper. In this
+way, although the natural vigor of the woodcut suffered, an effect of
+space and distance was achieved. Because of the small scale this
+technique was difficult, especially when cross-hatching was added, and
+special knives as well as a phenomenal deftness were needed to work out
+these bits of jewelry on the plank grain of pear, cherry, box, and
+serviceberry wood.
+
+Jackson's initial impression of the state of woodcutting in France is
+described in the _Enquiry_ (p. 27):
+
+  From this Account it is evident that there was little Encouragement
+  to be hoped for in England to a Person whose Genius led him to
+  prosecute his Studies in the ancient Manner; which obliged Mr.
+  _Jackson_ to go over to the Continent, and see what was used in the
+  _Parisian_ Printing-houses. At his arrival there he found the
+  _French_ Engravers on Wood working in the old Manner; no Metal
+  Engravers, or any of the same Performance on the end of the Wood,
+  was ever used or countenanced by the Printers or Booksellers in that
+  City. He tells us that he thought himself a tolerable good Hand when
+  he came to _Paris_, but far inferior to the Performances of
+  Monsieurs _Vincent le Seur_ and _Jean M. Pappillon_....
+
+Jackson admits benefiting from the friendship and advice of these
+woodcutters, then goes on to describe their work with a ruthless
+frankness. Le Sueur, he says, was a brilliant copyist of the line
+engravings of Sebastien Le Clerc but, because he was a line-for-line
+copyist, lacked skill in drawing. Papillon's father, also a woodcutter
+who copied Le Clerc, avoided cross-hatching, which Jackson considered an
+essential ingredient of the true style of black-and-white woodcutting;
+Papillon himself, while described as a draughtsman of the utmost
+accuracy, was criticized for making his work so minute that it was
+impossible to print clearly. Jackson says in the _Enquiry_ (pp. 29-30):
+
+  If his Father neglected Cross Hatching, the Son affected to outstrip
+  the _le Seurs_ in this difficult Performance, and even the ancient
+  _Venetians_, believing to have fixed a _Non plus ultra_ in our Times
+  to any future Attempts with Engraving on Wood.
+
+  ... I saw the Almanack[17] in a horrid Condition before I left
+  _Paris_, the Signs of the Zodiack wore like a Blotch,
+  notwithstanding the utmost Care and Diligence the Printer used to
+  take up very little Ink to keep them clean. I have chosen to make
+  mention of these two _Frenchmen_ as the only Persons in my time
+  keeping up to the Stile of the ancient Engraving on Wood; and as
+  they favoured me with their Friendship and Advice during my abode in
+  _Paris_, I thought in Justice to their good Nature it was proper to
+  give some Account of their Merit!
+
+    [Footnote 17: The _Petit almanach de Paris_, founded by J. M.
+    Papillon in 1727 and illustrated with his woodcuts.]
+
+Acknowledgment of friendship and merit in this vein, while entirely true
+(Papillon was minute to the point of exhibitionism, and his cuts were
+often not adapted to clear printing), demonstrates the lack of tact that
+made powerful enemies for Jackson wherever he traveled. Papillon no
+doubt read the _Enquiry_, in which he was discussed at length, and the
+well-known _Essay_, with its aggressive tone and irresponsible claims.
+When Papillon's _Traite_ came out in 1766 he took the opportunity to put
+the English artist in his place. Certainly his account was colored by
+Jackson's writings; there is no other explanation for this display of
+personal bitterness in a work published 36 years after the Englishman
+left Paris (pp. 327-328):
+
+  J. Jackson, an Englishman who lived in Paris for a few years, might
+  have perfected himself in wood engraving, which he had learned, as I
+  said previously on page 323, from an English painter, if he had been
+  willing to follow my advice. As soon as he arrived in Paris he came
+  to me asking for work; I gave him some things to execute for a few
+  months in order to allow him to live, for which he repaid me with
+  ingratitude by making a duplicate of a floral ornament of my design
+  which he offered, before delivering the block to me, to the person
+  for whom it was to be made. From the reproaches I received when the
+  matter was discovered, I refused, naturally, to employ him further.
+  Then he went the rounds of the printing houses in Paris, and was
+  forced to offer his work ready-made and without order, almost for
+  nothing, and many printers, profiting by his distress, supplied
+  themselves amply with his cuts. He had acquired a certain insipid
+  and limited taste, little above the mosaics on snuffboxes, similar
+  to other mediocre engravers, with which he surcharged his works. His
+  mosaics, however delicately engraved, are always lacking in effect,
+  and show the engraver's patience and not his talent; for the
+  remainder of the cut has only delicate lines without tints or
+  gradations of light and shade, and lack the contrast necessary to
+  make a striking effect. Engravings of this sort, however deficient
+  in this regard, are admired by printers of vulgar taste who
+  foolishly believe that they closely resemble copper plate engraving,
+  and that they give better impressions than those of a picturesque
+  type having a greater variety of tints.
+
+  Jackson, having been forced by poverty to leave Paris, where he
+  could find nothing further to do, traveled in France; then,
+  disgusted with his art, he followed a painter to Rome, after which
+  he went to Venice, where, I am told, he married, and then returned
+  to England, his native country.
+
+Whether or not Jackson was unethical he was certainly an active
+competitor and many printers "supplied themselves amply with his cuts."
+He must have produced an enormous amount of work during his five years
+in Paris because John Smith, in his _Printers Grammar_,[18] says that
+Jackson's cuts were used so widely and for so many years in Paris that
+they replaced the fashion of using "flowers," or typographical
+ornaments, and that this style did not come into vogue again until the
+cuts were completely worn down through use.
+
+    [Footnote 18: Smith, 1755, p. 136.]
+
+This statement is not entirely true, but it is probable that Jackson's
+woodcuts, more broadly executed than the typical French products,
+outlasted all others of the 1725-30 period. They were consistently
+re-used, and appeared, as far as they can be traced, well into the
+1780's.[19]
+
+    [Footnote 19: See cuts in _Dissertatiumeula quodlibetariis
+    disputationibus_ of C. L. Berthollet, Paris, 1780, and _Voyage
+    litteraire de la Grece_, of de Guys, 1783.]
+
+Elsewhere in the _Traite_, however, Papillon has a good word for
+Jackson's abilities:[20]
+
+  Jackson, of whom I have already spoken, also engraved in
+  chiaroscuro; I have a little landscape by him which is very nicely
+  done.
+
+    [Footnote 20: P. 415. This may be the print formerly in Dresden
+    but lost during the war.]
+
+It was inevitable that Papillon and Jackson should clash. The
+Frenchman's notion of woodcutting was influenced, as we have seen, by
+copper plate engraving; he wanted, by incredible minuteness of cutting,
+to achieve approximately the same results. This was in keeping with the
+delicate French _rocaille_ tradition on which Papillon was nurtured; to
+him any other contemporary style of book decoration was evidence of bad
+taste. Jackson, on his part, felt that this approach violated the
+essentially broad, vigorous nature of the woodcut and, in addition, made
+excessive demands on the printer. Since this impoverished beginner, and
+an Englishman at that, refused to take his earnest advice or to fall
+into the prevailing style, Papillon was enraged. After all, Jackson was
+working as an employee. But Papillon was not entirely blind. In a number
+of places in the _Traite_ he made reference to other woodcutters who
+were working in Jackson's style, and he recorded some of the works the
+Englishman illustrated during his five years in Paris.
+
+    [Illustration:
+    Headpiece by J. M. Papillon for his _Traite historique et pratique
+    de la gravure en bois_, Paris, 1766, vol. 3. This is an example of
+    Papillon's minute style, against which Jackson rebelled.
+    Actual size.]
+
+Jackson's blossoming out as a maker of wallpaper after his return to
+England and his brash claims in this connection in the _Essay_, must
+also have irked Papillon, who knew the field as an expert; his father in
+1688 had set up the first large printing house in France for wall
+hangings, and after his death in 1723 Papillon had inherited it. In
+1740, he sold the business to the widow Langlois, but he had run the
+shop during Jackson's residence in Paris and his former employee no
+doubt had learned a great deal by observing its operation. Yet here more
+than twenty years later was the upstart Englishman again, venturing into
+wallpaper manufacturing with an air of moral superiority, attacking all
+other products as unworthy. Jackson's ridiculing of the Chinese style
+must have been particularly galling since Papillon and his father had
+specialized in producing such papers. These were much better than
+comparable English work, but Jackson, confining himself to English
+products, had attacked the whole style without making distinctions.
+
+According to the _Enquiry_ (pages 32-55 of this book will be drawn upon
+for the ensuing details of Jackson's career), M. Annison, Director of
+the Imprimerie Royale, for whom Jackson produced many cuts, introduced
+him to Count de Caylus, collector, connoisseur, etcher, and the leading
+spirit in French engraving at the time. De Caylus had, in 1725,
+undertaken to direct the reproduction of drawings and paintings in the
+best French collections.[21] Pierre Crozat, the famous collector,
+sponsored the publication of this ambitious work.
+
+    [Footnote 21: _Recueil d'estampes d'apres les plus beaux tableaux
+    et d'apres les plus beaux dessins qui sont en France dans le
+    cabinet du Roy, dans celui de M. le Duc d'Orleans et dans d'autres
+    cabinets, divise suivant les differentes ecoles._ Paris, 1729-42,
+    2 vols., 182 plates. Often called the _Cabinet Crozat_, it was
+    reprinted by Basan in 1763 with aquatint tones by Francois
+    Charpentier replacing the woodblock tints.]
+
+The drawings were reproduced in chiaroscuro while the paintings were
+rendered in black-and-white by a corps of engravers. The chiaroscuros
+were made by combining an etched outline, usually by de Caylus or
+P. P. A. Robert, with superimposed tones, mainly in green or buff, from
+one or two woodblocks cut in most cases by Nicolas Le Sueur, or under
+his direction. This was not a new printing method. Hubert (not Hendrick)
+Goltzius had first employed it in a set of Roman emperors after antique
+medallions in 1557.[22] To reproduce drawings by Raphael, Parmigianino,
+and himself, Abraham Bloemart, as well as Frederick and Cornelius
+Bloemart in the early 1600's, had used this combination extensively, and
+as described earlier, p. 11, Kirkall had used it between 1722 and
+1724.[23] The combination method produced rather feeble prints that
+lacked the vigor of straight woodblock chiaroscuro. The etched outline
+was thin and ineffective, and the tints were pallid so as not to
+overpower the drawing. Only Abraham Bloemart's prints in this style were
+convincing, although Kirkall's chiaroscuros, in their soft, over-modeled
+way, had individuality. But the _Cabinet Crozat_ lacked distinction
+entirely. The chiaroscuros had a mechanical look, a fact not surprising
+when we remember that they were produced by a team of engravers--
+assembled, as it were, from several hands working in different media.
+The best prints were a few chiaroscuros made entirely from woodblocks by
+Nicolas Le Sueur, although these were also rather tepid, no doubt to
+harmonize with the rest of the work.
+
+    [Footnote 22: _Imperatorum imagines_, Antwerp, 1557. The
+    woodblocks were cut by Josse Geitleugen.]
+
+    [Footnote 23: In the _Enquiry_ (p. 31) Jackson asserts that
+    Kirkall's tints were made from copper plates, not woodblocks.]
+
+Jackson tells us that he worked on some tint blocks, first from a
+drawing by Giulio Romano and later from a drawing by Raphael, _Christ
+Giving the Keys to St. Peter_, the original _modello_ for one of the
+famous tapestry cartoons. Count de Caylus, he says, liked the work and
+wanted to employ him further on the project, but Crozat rejected him
+flatly. De Caylus, according to Jackson, was embarrassed and distressed
+and offered recompense for the lost time and labor, but Jackson, not to
+be outdone in generosity by a nobleman, refused, explaining that the
+honor of knowing the Count and receiving his approbation more than made
+up for his lost effort.
+
+Vincent Le Sueur objected to the combination method and withdrew early
+from the project. Possibly Jackson, who also disliked this method and
+was not known for his discretion, was considered by Crozat to be a
+disruptive element. Possibly his style of cutting was not retiring
+enough for Crozat's tasteful French notion of chiaroscuro. This project,
+in any case, aroused the Englishman's interest in the process. _Christ
+Giving the Keys to St. Peter_, after Raphael, made about 1727, was
+probably Jackson's first chiaroscuro woodcut. No doubt he produced it on
+his own and offered it as a plate for the publication, perhaps at the
+time he was commissioned to cut the tint blocks to be used in
+combination with de Caylus' etching of this subject.
+
+With both Papillon and the powerful Crozat against him, Jackson was
+finished in Paris. De Caylus urged him to go to Italy. Accordingly, in
+April 1730, he left Paris in the company of John Lewis, an English
+painter, and set out for Rome, where he expected to continue his studies
+in drawing and deepen his knowledge of art.
+
+Jackson's style was still being formed during his Paris period. Confined
+for the most part to initial letters, headbands, and tailpieces, his
+work differed from contemporary French cuts only in its technical
+handling, which was firmer and broader. Little of a more creative nature
+came his way, and the Paris stay therefore served as a useful interim
+during which he became adept in his craft. The necessity for keeping
+himself alive by cutting on wood developed his powers of invention and
+his facility: he became a remarkably rapid and skillful cutter. Jackson
+gathered strength in Paris, but it was in Venice that he really came to
+maturity as an artist.
+
+    [Illustration:
+    TAILPIECE in _Histoire generale de Languedoc_, by Claude Vic and
+    J. J. Vaissete, Paris, 1730, vol. 1. Note the even tone and clean
+    cutting compared with Papillon's light-and-dark contrasts and
+    dainty cutting.
+    Actual size.]
+
+
+_Venice: The Heroic Effort_
+
+After leaving Paris, Jackson and Lewis journeyed to Marseilles, where
+Jackson became seriously ill and remained for six months, while Lewis
+continued to Genoa. Regaining his health, Jackson went on to Genoa and
+then to Leghorn, Pisa, and Lucca, arriving in Florence in January 1731.
+There, during a stay of several months, he discussed with the Grand Duke
+of Tuscany a reprinting of Vasari's _Lives of the Painters_. Jackson was
+to make cuts for the headpieces, but the project was eventually dropped,
+and he continued to Bologna, where he remained a month chiefly in the
+company of the woodcutter G. M. Moretti, who showed him some original
+blocks cut by Ugo da Carpi for printing in chiaroscuro. He then
+proceeded to Venice, arriving "three Days before the Feast of the
+Ascension in 1731, and was highly surprized to find no one Engraver on
+Wood capable to do such poor Work, he has seen at Bolonia." Jackson was
+amply supplied with strong recommendations from Florence, and on showing
+his work to leading printers was urged to settle in Venice, where a fine
+woodcutter capable of both designing and executing cuts was urgently
+needed. Here he also met Count Antonio Maria Zanetti, who was well-known
+as a chiaroscuro woodcutter besides being a collector and patron of the
+arts. Their first meeting is described in the _Enquiry_:
+
+  ... very soon after his [Jackson's] Arrival he had an Interview with
+  Signior _Antonio Maria Zannetti_; from the Accounts he had heard
+  from Mr. _Marriette_ in _France_ of this Man's Work in _Chiaro
+  Oscuro_, he expected to see some wonderful Performance, but
+  _Parturiunt montes nascetur ridiculus mus_ is a most applicable
+  Proverb on this Occasion. I who have perused this grand Raccolta of
+  _Zannetti's_, must acknowledge that they are a trifling Performance,
+  inferior to any Attempts of this Kind in our Times; and indeed it is
+  no Wonder, when we come to know that this Man never used a Press,
+  nor so much as a Hand Roll to print his Works with. Our Countryman
+  says he had room to suspect he neither did cut or print these Works,
+  which was confirmed by the poor Men who performed both. But such was
+  the Vanity of this Author, that he told the Public in his
+  Dedications that he was the Restorer of that lost Art, whereas he
+  only drawed them on the Blocks, which might have been done as well
+  by those that cut and printed them. At this first Interview the low
+  Cunning of this Man was discovered....[24]
+
+    [Footnote 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.]
+
+Jackson undoubtedly disliked Zanetti's soft and delicate treatment, so
+characteristic of 18th-century work, and considered his interpretation
+of Parmigianino and Raphael little short of sacrilege. Since Jackson was
+incapable of hiding his feelings a quarrel became inevitable. The first
+rift came when Zanetti let Jackson have for a few weeks a drawing by
+Parmigianino, the _Venus and Cupid with a Bow_, to be executed in four
+blocks. The print was done "intirely in _Hugo's_ [da Carpi's] manner,
+with this Difference, that no _Oscuro_ block has a Contour to resemble
+the original Drawing it was done from, which is seldom seen in _Hugo's_
+works...." Zanetti, surprised by the fine quality of the first proof,
+proposed to pass it off on Mariette in Paris as an original da Carpi
+print. He even stained it and cut holes in it to give the impression of
+aged worm-eaten paper. At the same time Jackson executed another
+chiaroscuro, also based on a Parmigianino drawing, the _Woman Standing
+Holding Jar on her Head_. Zanetti, says the _Enquiry_--
+
+  ... caressed the Author with the highest Expressions of Zeal for his
+  Service, protesting he would communicate his Capacity to his
+  Correspondents all over _Europe_, which would be the Means to
+  advance his Fortune, especially amongst the _English_ Quality and
+  Gentry who travelled _Italy_. The intent of all those fine Promises
+  was to get the two Sets of Blocks into his Hands, which he expected
+  as a Present for the Use of the two original Drawings, from which
+  these Prints were taken; but this not being complyed with, the
+  _Restaurati_ expressed a Resentment at this Refusal, and took all
+  the Opportunities to distress the Undertakings of any Sort performed
+  by Mr. _Jackson_, during fourteen Years Residence in _Venice_.
+
+Zanetti was charged, in some obscure way, with obstructing Jackson's
+work in cutting 136 blocks for the _Istoria del Testamento Vecchio e
+Nuovo_, popularly known as the _Bibbia del Nicolosi_,[25] published by
+G. B. Albrizzi in 1737. We are informed that Filippo Farsetti, one of
+Jackson's patrons, paid him for the whole set of cuts after rebuking
+Zanetti for interference.
+
+    [Footnote 25: These cuts were also used for the _Biblia Sacra_,
+    published by Hertz in Venice in 1740.]
+
+The Englishman evidently was kept well occupied with preparing cuts for
+printers, among them Baglioni and Pezzana. For the latter he made 24
+woodcuts for a quarto edition of a _Biblia Sacra_ and an unspecified
+number of ornaments for a folio edition. Jackson was given a free hand
+to conceive and carry out the cuts as he pleased.
+
+While working on these prints he began--
+
+  to consider on his favourite Work in _Chiaro Oscuro_, and by
+  intervals examined what he had projected at _Paris_. He began first
+  to make experiments with Tints, and having proved that Four
+  Impressions could produce Ten positive Tints, besides _Tratti_ and
+  _Lights_; he resolved to try a large Piece from _Rubens's_ Judgment
+  of _Solomon_, with an intent to prove what could be done with the
+  Efforts of a Type Press before he launched into greater Expences
+  with another Machine.
+
+He wanted this press in his home, where he could experiment as he
+pleased without tying up workmen or equipment in Pezzana's shop. It
+might have been professional delicacy that prompted him to ask Pezzana's
+permission to have a private press built, or it might have been a bid
+for patronage from the generous and influential printer. In any event,
+Pezzana responded by having his carpenters build and install the press
+at his own expense. To avoid official registrations or craft suspicions,
+he had it registered as his own. The trial proofs of _The Judgment of
+Solomon_, printed from four blocks, pleased Jackson in every regard
+except vigor of impression. Unfortunately no edition was published,
+despite the dedication to Filippo Farsetti.
+
+Finished in 1735, this woodcut was probably the first to translate a
+painting in a full range of tones. From the purely technical standpoint
+it was an incredible achievement. Jackson created a vivid approximation
+of a large and complex painting and at the same time produced a vigorous
+woodcut. From four superimposed woodblocks, with almost no linework, he
+was able to capture the full-blooded forms of Rubens. By keeping his
+means simple Jackson asserted the importance of his cutting and
+printing, the expressiveness of his drawing, and the fluidity of his
+tones. Obviously such a procedure required major decisions as to what to
+omit and what to stress; in other words it required interpretive
+abilities of a high order.
+
+Evidently Jackson believed that his new chiaroscuro method required
+heavier pressure than the platen press was capable of. (On the usual
+wooden screw press the size of the platen never exceeded 13 by 19
+inches, because the impressions made with a larger platen would not have
+been strong enough; for prints larger than the platen, the bed was moved
+and the platen pulled down twice.) He had the press returned to Pezzana
+and set out to build a more suitable printing machine.
+
+  He found there were other means to be employed beside a Type Press,
+  and having examined the Theory of his Invention put it in Practice,
+  by erecting a Rolling Press of another Construction than what is
+  used for printing Copper Plates.
+
+    [Illustration:
+    ILLUSTRATION in _Biblia Sacra_ published by Hertz, Venice, 1740,
+    vol. 1. Originally cut by Jackson for Albrizzi's _Istoria del
+    Testamento Vecchio e Nuovo_, Venice, 1737.
+    Actual size.]
+
+In Paris Jackson had suggested using a cylinder press for printing wood
+blocks. The gentlemen to whom the suggestion was made, Count de Caylus,
+Coypel, and Mariette, were sure that the enormous pressure would split
+the blocks. The Englishman, on the contrary, felt that the pressure,
+properly controlled by a chase, would hold the blocks together. Printing
+would be much more rapid and the exceptional vigor of the impression
+would suggest a hand drawing. The use of cylinder presses for
+chiaroscuro printing was already well known to experts. George Lallemand
+and Ludolph Businck, sometime between 1623 and 1640, had used not one
+but a series of six cylinders on three joined presses, with three
+printers simultaneously inking separate blocks with different tones.
+Impressions were then printed from each block in succession.
+Papillon[26] described this press, and also another with a special chase
+designed at an unspecified date by Nicolas Le Sueur. Jackson's prints
+show a much stronger impression than those of Businck or Le Sueur. No
+details of his press are known, although Thomas Bewick[27] reported that
+Jackson as an old man had shown him a drawing of its construction.
+
+    [Footnote 26: Papillon, vol. 2, 1766, pp. 372-373.]
+
+    [Footnote 27: Bewick, 1925, p. 213.]
+
+    [Illustration:
+    Illustration for Albrizzi's _Istoria_, in which it was cut No. 136.
+    From Hertz's _Biblia Sacra_, vol. 1.
+    Actual size.]
+
+The cylinder press of Jackson's design was finished in 1735 and paid for
+by the income from prolonged sieges of work for printing offices. But
+the overwork and resulting exhaustion laid him low; a serious illness
+followed and for several months he was close to death. When he
+eventually regained his health he found that his cuts for Baglioni and
+Pezzana had been copied and mutilated by an engraver at Ancona. This
+pirate was encouraged by the head of a large printing establishment
+newly founded in Venice, who thereupon offered Jackson work at greatly
+reduced prices. He refused the offer. With hack woodcutters now stealing
+both his designs and his manner of cutting, and working at a far lower
+rate than he could afford, he found that the market for his higher
+priced work had almost entirely disappeared. He still received
+occasional commissions, among others the title page to a translation of
+Suetonius' _Lives of the Twelve Caesars_, printed by Piacentini in
+Venice in 1738. His splendid design, which shows considerable burin
+work, is at odds with the crudity of the remainder of the book. Inferior
+hands reproduced in woodcut outline Hubert Goltzius' medallion portraits
+of Roman emperors, originally executed in chiaroscuro (see p. 22).
+Stimulated, no doubt, by the combination of chiaroscuro and antiquity,
+Jackson produced a portrait of Julius Caesar in four tones of brown
+after Egidius Sadeler's engraving of a subsequently lost painting
+attributed to Titian. This was not the only time Jackson translated a
+line engraving and added chiaroscuro modeling of his own. He did not
+make line-for-line copies. Jackson was interested in broad effects even
+when leaning heavily on the delicate linear conventions of line
+engraving. The lines, therefore, are firm and widely spaced, like
+photographically enlarged details of copper-plate work. Apparently
+Jackson felt that the addition of one or two tones from wood blocks
+would supply the intermediate tints and at the same time would prevent
+the line system from becoming obtrusive.
+
+The decided influence of line engraving was probably the result of his
+association in 1731 with G. A. Faldoni in Venice. Influenced by Claude
+Mellan, this engraver made use of swelling parallel lines to create
+tonal gradations. Jackson had first become interested in this technical
+method through Ecman's woodcuts after Callot, and once Faldoni had
+strengthened the attraction he found kindred influences in the
+engravings of Villamena and Alberti, particularly the former, from whom
+he also acquired design ideas he later put to use in his wallpapers.
+Jackson's discovery that he could to some extent use copper-plate
+techniques was not a reversion to the style of the Parisian group of Le
+Clerc copyists. Jackson used the line system as a means for creating
+forms in conjunction with tones; the Parisian woodcutters used it to
+imitate the delicate quality of line engraving. He had a formal
+aesthetic end in view; their purpose was to render realistic details in
+a decorative framework.
+
+With opportunities for book illustration gone, Jackson was in a
+difficult position. His novel chiaroscuro experiments had consumed
+valuable time and had lost him his standing as a steady worker for
+printers. Near destitution and scouting around for fresh applications of
+the woodcut, he decided to make prints for wallpaper on his new press.
+It was a logical step for Jackson, not only because he knew something of
+the process but also because he could make use of the chiaroscuro blocks
+already prepared. Late in 1737 or early in 1738 he had his first samples
+ready and sent them to Robert Dunbar in London, together with his
+conditions for carrying on the trade in Venice. Negotiations dragged,
+and Dunbar died before they could come to terms, but the idea of using
+his skill and his machine for turning out wallpaper continued to occupy
+his mind as a possibility. But, for the time, the undertaking had to be
+laid aside while Jackson looked for more immediate means of employment.
+
+At this juncture Joseph Smith befriended him. A merchant of long
+standing in Venice, who became the British consul there in 1745, Smith
+was a bibliophile, gem collector, and connoisseur of the arts. In spite
+of Walpole's sneering reference to him as "the merchant of Venice," it
+must be said that he was expert in his fields of interest. He had
+excellent taste. His fine collection of books was purchased by George
+III in 1765, and the small Rembrandt _Descent from the Cross_ once in
+his possession is now in the National Gallery in London.
+
+From Smith's bronze statuette of Neptune, by Giovanni da Bologna,
+Jackson produced a chiaroscuro print in four blocks, in imitation, he
+asserted, of the prints of Andrea Andreani.[28] In suggesting the
+influence of this master, Jackson did not refer to his technique or
+style but to his subject: in 1584-1585 Andreani had produced a
+chiaroscuro series after other statues by Giovanni da Bologna (B. XII,
+VI, 1-4).
+
+    [Footnote 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.]
+
+The next work in Smith's collection to be reproduced in chiaroscuro was
+Rembrandt's _Descent from the Cross_. Jackson was evidently well
+satisfied with the results, and with good reason. It is an extremely
+effective print, with pale yellow lights and transparent shadows. The
+drawing is remarkable in its feeling for the Rembrandtesque style. The
+sky and other parts show English white-line burin work of the type found
+in Mattaire's _Latin Classics_ and Croxall's _Aesop's Fables_. The
+_Enquiry_ says (p. 45):
+
+  As this Painting was extremely favourable for this sort of Printing,
+  he endeavoured to display all his Art in this Performance, and the
+  Drawing of _Rembrandt's_ Stile is intirely preserved in this Print;
+  it is dedicated to Mr. _Smith_, who generously gave the Prints to
+  all Gentlemen who came to _Venice_ at that time in order to
+  recommend the Talents of a Man whose Industry might please the
+  curious, and at least be of some Use to procure him Encouragement to
+  proceed in other Works of that Kind.
+
+Encouragement soon came. Smith interested two of his friends, Charles
+Frederick and Smart Lethieullier, and the three proposed in 1739 the
+undertaking of a grand project in chiaroscuro, the reproduction of 17
+huge paintings by Venetian masters. This was to be financed by
+subscription, says the _Enquiry_ (p. 46):
+
+  the Proposals in _French_, and the Conditions expressed therein,
+  were drawn up as they thought proper, without consulting the
+  Difficulties that must attend an Enterprize that required some years
+  to accomplish.
+
+Their own subscriptions were no doubt generous but Jackson found that
+his total income from this form of financing, together with possible
+future sales, would hardly cover his expenses. Other hazards made his
+situation even worse. War broke out in Europe before he was halfway
+through, and many English gentlemen, his potential subscribers, left the
+country. This exodus meant financial disaster, but Jackson kept at his
+task. He should, he said, have gone to England for his own best
+interests but felt that he couldn't disappoint his distinguished
+patrons.
+
+The first print completed was after Titian's _St. Peter Martyr_ at the
+Dominican Church of Sts. Giovanni and Paolo. In coloring it is similar
+to the Rembrandt print, with gray-green sky, yellow lights, and cool
+brown shadows. While attractive and forceful, it is not as effective as
+the Rembrandt because Titian, with his greater range of color, presented
+a more complex problem. Most of the prints thereafter leaned to
+monochromes in either browns or greens. The _St. Peter_ was finished in
+1739 and in the same year five more prints were brought to completion.
+
+In 1740 he produced the three sheets which made up Tintoretto's
+_Crucifixion_ in the Scuola di San Rocco.[29] These were intended to be
+joined, if desired, to form one long print measuring about 22 x 50
+inches.
+
+    [Footnote 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.]
+
+Of the ten remaining subjects, the last, Jacopo Bassano's _Dives and
+Lazarus_, was finished at the end of 1743, and the set of 24 plates
+(some paintings, as noted, were reproduced in three sheets and some in
+two) was published as a bound volume by J. B. Pasquali in Venice, 1745,
+under the title _Titiani Vecelii, Pauli Caliarii, Jacobi Robusti et
+Jacobi de Ponte; opera selectiora a Joanne Baptista Jackson, Anglo,
+ligno coelata et coloribus adumbrata_.
+
+The Venetian prints were not merely an extension of chiaroscuro, they
+represented a daring effort to go beyond line engraving for reproducing
+paintings. Justification for this attempt is given in the _Essay_
+(p. 6):
+
+  ... and though those delicate Finishings, and minute Strokes, which
+  make up great Part of the Merit of engraving on Copper, are not to
+  be found in those cut on Wood in _Chiaro Oscuro_; yet there is a
+  masterly and free Drawing, a boldness of Engraving and Relief, which
+  pleases a true Taste more than all the little Exactness found in the
+  Engravings on Copper Plates ... and indeed has an Effect which the
+  best Judges very often prefer to any Prints from Engravings, done
+  with all that Exactness, minute Strokes of the Graver, and Neatness
+  of Work, which is sure to captivate the Minds of those whose Taste
+  is formed upon the little Considerations of delicately handling the
+  Tools, and not upon the Freedom, Life and Spirit of the separate
+  Figures, and indeed the whole Composition.
+
+A novel device, embossing, was employed to give added strength to the
+prints. This development had been foreshadowed by earlier prints and
+pages of text which showed a slight indentation where the dampened paper
+received the impression. Embossing had probably first been used
+systematically by Elisha Kirkall in 1722-24, and by Arthur Pond in his
+chiaroscuros, made in 1732-36 in conjunction with George Knapton, after
+drawings by old masters. Jackson admired Pond's work even though it
+combined etched outlines with two tone blocks printed from wood.[30]
+Pond's embossing was delicate and applied sparely only in certain forms,
+such as ruined columns, but Jackson's sunken areas were heavier and
+franker, consciously intended to give an all-over effect. Since the
+paper could not be pressed out without weakening the embossing, it often
+took on the scarred and buckled look that characterizes the Venetian
+chiaroscuros.
+
+    [Footnote 30: _Enquiry_, p. 35. The Japanese began to use
+    embossing about 1730. See Reichel, 1926, p. 48.]
+
+The set had occupied him for 4-1/2 years, during which he had planned,
+cut, and proofed 94 blocks.
+
+  No sooner was that ended, and a little Breathing required after that
+  immense Fatigue, in the Year 1744 he attempted to print in Colours,
+  and published six Landskips in Imitation of Painting in Acquarello.
+
+    [Illustration:
+    Title page for _Gajo Suetonio tranquillo, le vite de'dodici
+    Cesari_, Piacentini, Venice, 1738.]
+
+This new set, dedicated to Robert d'Arcy, British Ambassador to the
+Republic of Venice, was based on gouache paintings by Marco Ricci,
+probably done on goatskin or leather in his usual manner. For Jackson to
+make these color prints was a logical step, since his work had tended
+toward the full chromatic range even in the chiaroscuros, which
+"adumbrated" color. His new prints were all color-- clear, sensitive,
+and tonally just. It is not surprising that he seized upon Ricci's
+opaque watercolors. The paintings of the Venetian masters had darkened
+in ill-lit churches, the shadows had become murky, there were too many
+figures. But the Ricci paintings were small and clearly patterned, the
+color sparkled.
+
+The original gouaches have not been located, but from other examples in
+the same manner, in Buckingham Palace and in the Uffizi, it is plain
+that Jackson took certain liberties. Ricci's rather sharp colors were
+considerably modified and mellowed when they weren't changed entirely:
+witness the two sets in different harmonies in the British Museum. Peter
+A. Wick (1955) believes it most likely that Jackson did not copy
+specific paintings, and suggests that details from Ricci's etchings and
+gouaches were combined and freely amended to create Ricci-like designs.
+
+Having determined his color scheme Jackson cut seven to ten blocks, each
+designed to bear an individual color which was to combine with others
+when necessary to form new colors. No outline block was used. To obtain
+variations from light to dark in each pigment Jackson scraped down the
+blocks with a knife; he thus lowered the surfaces slightly and created
+porous textures which would introduce the white paper or the underlying
+color. Examination of the prints clearly shows granular textures in the
+light areas. Scraping to lighten impressions was a common procedure in
+black-and-white printmaking, and was described by both Papillon and
+Bewick. In addition Jackson no doubt used underlays, that is, small
+pieces of paper pasted in layers of diminishing size on the backs of the
+blocks where the color was most intense. The pressure was therefore
+greatest in the deepest notes and lightest in the scraped parts. The
+copper plate press enabled Jackson to get good register without making
+marks on the blocks. The paper was dampened and fastened to the chase at
+one end. After each impression the next inked block was slid into the
+chase and printed wet into wet. Problems of register were eliminated
+because the sheets were held in place at all times, the blocks fitting
+the same form. No doubt the paper was sprinkled with water on the
+reverse side after each impression to eliminate shrinking and to keep it
+soft for printing. This method would explain Jackson's transparent
+effects.
+
+Although the Ricci prints were certainly the most ambitious and
+complexly planned prints of the century, the cutting is crisp and
+decisive and the effect fresh and unlabored. As in the Venetian set
+embossing is consciously applied. Most likely Jackson impressed the
+finished prints, specially redampened for the purpose, with one or two
+of the uninked blocks. Jackson interpreted Ricci's qualities with great
+spirit, and in doing so he liberated the color woodcut from its old
+conventions. The "true"-color prints he produced in the medium preceded
+the Japanese, if not the Chinese.[31] In Japan, it must be remembered,
+simple color printing in rose and green supplanted hand coloring in
+about 1741, and rudimentary polychrome prints can be dated as early as
+1745, but, as Binyon[32] puts it, "it was not until 1764 that the first
+rather tentative _nishiki-ye_, or complete colour-prints were produced
+in Yedo, and the long reign of the Primitives came to an end."
+
+    [Footnote 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.]
+
+    [Footnote 32: Laurence Binyon, _A Catalogue of Japanese & Chinese
+    Woodcuts in the British Museum_, London, 1916, p. xx,
+    introduction.]
+
+In making his Ricci prints Jackson sought a method of color printing
+that would overcome the deficiencies of Jacob Christoph Le Blon's
+three-color mezzotint process. Le Blon, a Frenchman born in Germany, had
+begun experimenting with color printing as early as 1705. His idea was
+to split the chromatic components of a picture into three basic hues--
+blue, red, and yellow-- in gradations of intensity so that varying
+amounts of color, each on a separate copper plate, could be printed in
+superimposition to reconstitute the original picture. This was based
+upon a simplification of Newton's seven primaries. Later, Le Blon added
+a fourth, black plate. Incredibly, this is the principle of modern
+commercial color printing, the only difference being that Le Blon did
+not have a camera, color filters, and the halftone screen at his
+disposal and had to make the separations by hand. Le Blon came to London
+in 1719, produced an enormous number of color prints, published his
+_Coloritto, or the Harmony of Colouring in Painting_ in a very small
+edition about 1722 (it is undated), and shortly thereafter failed
+disastrously. About 1733 he returned to Paris, where he attracted a few
+followers. Most of his prints have disappeared, only about fifty being
+known at present.
+
+    [Illustration:
+    Trial proof of the key block of center sheet of _The Crucifixion_,
+    after Tintoretto. National Gallery of Art (Rosenwald Collection).]
+
+    [Illustration:
+    TRIAL PROOF of the key block of _Christ on the Mount of Olives_,
+    after Bassano. National Gallery of Art (Rosenwald Collection).]
+
+The idea of full-color printing, then, was in the air, although later,
+in the _Enquiry_, Jackson took pains to state that he had not been
+following in the footsteps of the Frenchman, who, he claimed, had made
+serious mistakes.
+
+  The Curious may think that this Tentamine was taken from the
+  celebrated Mr. _le Blond_; I must here take the Liberty to explain
+  the Difference.... Numbers are convinced already, that the printing
+  Copper-plates done with _Fumo_ or _Mezzotinto_, are the most subject
+  to wear out the soonest of any sort of Engraving on that Metal. Had
+  this one Article been properly considered, _le Blond_, must have
+  seen the impossibility of printing any Quantity from his repeated
+  Impressions of Blue, Red, and Yellow Plates, so as to produce only
+  Twenty of these printed Pictures to be alike. This is obvious to
+  every one who has any Knowledge, or has seen the cleaning of
+  Copper-plates after the Colour was laid on; the delicate finishing
+  of the Flesh must infallibly wear out every time the Plate is
+  cleaned, and all the tender light Shadowing of any Colour must soon
+  become white in proportion as the Plate wears. The Nature of
+  Impression being overlooked at first, was the principal Cause that
+  Undertaking came to nothing, notwithstanding the immense Expence the
+  Proprietors were at to have a few imperfect Proofs at best, since it
+  is evident they could be no other. The new invented Method of
+  printing in Colours by Mr. _Jackson_ is under no Apprehension of
+  being wore out so soon.... Whatever has been done by our _English_
+  Artist, was all printed with Wood Blocks with a strong Relievo, and
+  in Substance sufficient to draw off almost any number that may be
+  required.
+
+What Jackson neglected to mention was the difficulty of repeating
+transparent color effects with large planks of wood. Few existing
+impressions match each other and some prints are off register. What
+saved him was his fine color sense, his brilliance as a woodcutter, and
+his disinclination to make literal color reproductions.
+
+The work that Jackson left behind became a part of the cultural heritage
+of Venice, valued on its own account as well as for its connection with
+the city. Zanetti[33] describes the Venetian set and Zanotto,[34] in his
+_Guida_ of 1856, urges a visit to the Chiesa Abaziale della
+Misericordia, which evidently had on permanent exhibition a "perfectly
+unique collection of woodcuts in various colors by Jackson, quite
+unmatched."
+
+    [Footnote 33: Zanetti, 1792, pp. 689, 716.]
+
+    [Footnote 34: Zanotto, 1856, p. 320, note 3.]
+
+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.
+
+    [Footnote 35: Gallo, 1941, pp. 23-23. Jackson's blocks are not
+    listed in the Remondini catalog of 1817.]
+
+
+_England Again: The Wallpaper Venture_
+
+Jackson was married in Venice-- whether to an Italian we do not know--
+and when he left the city in 1745 to return to England he took a family
+along. He mentions "an impoverish'd Family" in the _Essay_, but beyond
+this we know nothing of his personal life.
+
+As soon as he arrived in England he was invited to work in a calico
+establishment, where he remained about six years. But making drawings to
+be printed on cloth failed to give him the scope he required. At the
+back of his mind was the passion to work with woodblocks in color. This
+led him to take a bold and hazardous step-- to leave his position and
+attempt, obviously with little capital, the manufacture of wallpaper,
+not to please an established taste but to educate the public to a new
+type of product.
+
+Wallpaper had come into popular use in England in the late 17th century,
+having been obtained from China by the East India Company. These
+hand-painted wall hangings, imported at great cost and in small
+quantities, were correspondingly expensive. The subjects were gay and
+fanciful-- birds, fans, Chinese kiosks, pagodas, and flowers. Highly
+desired because they offered an escape from the heavy grandeur of the
+Baroque style, they were subsequently imitated by assembly-line methods.
+They fitted naturally into the developing _rocaille_ style (corrupted
+into Rococo outside of France), and it is not surprising that they were
+also produced extensively in Paris. In England these imitations, which
+formed a substitute for expensive velvet and damask hangings, completely
+dominated the wallpaper field.
+
+The first notice of Jackson's venture appeared in the _Gentleman's
+Magazine_ of February 1752.[36] A letter signed "Y. D." praised the
+editor "Sylvanus Urban" for attempting to revive the art of cutting on
+wood. It mentioned that this art was in decline for more than a century,
+but noted that--
+
+  Two of our countrymen, _E. Kirkall_ and _J. B. Jackson_, ought to be
+  exempted from this general charge; the former having a few years ago
+  introduced the _Chiaro Oscuro_ of _Hugo de Carpi_ into England,
+  though he met with no extraordinary encouragement for his ingenuity;
+  and the art had died with him had not the latter attempted to revive
+  it, but with less encouragement than his predecessor. _Mr. Jackson_,
+  however, has lately invented a new method of printing paper hangings
+  from blocks, which is very ornamental, and exceeds the common method
+  of paper-staining (as it is termed) by the delicacy of his drawings,
+  the novelty of his designs, and the masterly arrangement of his
+  principal figures.
+
+    [Footnote 36: Vol. 22, pp. 77-79.]
+
+The next notice appeared in the _London Evening Post_ of April 30-May 2,
+1752:
+
+  New invented PAPER HANGINGS, printed in Oyl, which prevents the
+  fading or changing of the Colours; as also Landscapes printed in
+  Colours, by J. B. Jackson, Reviver of the Art of printing in Chiaro
+  Oscuro, are to be had at Dunbar's Warehouse in Aldermanbury, London;
+  or Mr. Gibson's, Bookseller, opposite the St. Alban's Tavern in
+  Charles-street near St. James's-Square, and no where else.
+
+Several months afterwards, in the September 1752 issue of _Gentleman's
+Magazine_, publication of the _Enquiry into the Origins of Printing in
+Europe_ was announced.
+
+The _Enquiry_ is an odd book. It combines rewritten versions of two
+Jackson manuscripts, a study of the origins of printing in Europe and an
+autobiographical journal covering, we suppose, the years from about 1725
+on. The writer, in his introduction, says that he had been attracted by
+the two notices mentioned and went to see Jackson, whom he already knew
+by reputation. As a "Lover of Art" he considered it his duty to acquaint
+the public with Jackson's ideas concerning the origins of printing.
+These ideas, he felt, were an important contribution. After devoting
+half the little book to a rambling account of this subject, including a
+short history of woodcutting from Duerer onward, the author suddenly
+shifts to the journal. It is regrettable that he condensed it because we
+do not know what was left out. It is possible that much autobiographical
+information was excluded, as well as a picture of woodcutters and
+woodcutting of the time. The book concludes with the statement that
+Jackson intended to print in October of that year (1752) a paper hanging
+in two sheets after an original painting "by _F. Simonnetta_ of
+_Parma_"[37] representing the battle fought near that city in 1738.
+
+    [Footnote 37: There is little doubt that Jackson meant Francesco
+    Simonini (1686-1753), a painter of battle subjects who was born in
+    Parma and lived in Venice in the 1740's.]
+
+This print was to be in full color, 3 feet 6 inches long by 2 feet high,
+and was to serve as a specimen for a series of four of the same size,
+the others being "History, Pictures and Landscapes." They were to be
+done by subscription:
+
+  No Money will be required of the Subscribers till the Prints are
+  finished, and only at the Delivery. It is to be hoped the Curious
+  and the Public will encourage this Undertaking, by a Man who has
+  spent the greatest Part of his Life in searching after and improving
+  an Art, believed by all to be lost, and has restored it to the
+  Condition we now see it in his Works.
+
+The only known copy of this battle picture, made from about seven
+blocks, is in the Print Room of the British Museum. It is a magnificent
+piece. Probably nothing with this breadth of handling had ever been done
+in woodcut before. The color is grave and beautifully harmonized,
+although the paper has deteriorated and the colors have darkened
+somewhat. The blocks were cut with ardor, almost fury; everything is
+brought to life with masterly assurance. Martin Hardie, who made the
+only previous comment on this print, which he could only surmise was
+Jackson's, says:[38] "Jackson's supreme achievement is a large battle
+scene, with wonderful masses of rich colour superbly blended,
+reminiscent of Velasquez in breadth, in dignity, and in glory of tone."
+
+    [Footnote 38: Hardie, 1906, p. 23.]
+
+There were competitors in London, among them Matthias Darley, who
+produced papers in the Chinese style; Thomas Bromwich, who was
+patronized by Walpole; and Robert Dunbar, Jr., of Aldermanbury, who in
+addition sold Jackson's papers. They lacked both Jackson's gifts and his
+unreasonable standards but they produced more generally acceptable
+wallpaper with greater facility. These competitors did not work in oil
+colors, like Jackson. Transparent tints were too difficult to control,
+especially when applied with inking balls (composition rollers did not
+come into use until well after 1800), and effects were too heavy. They
+used distemper-- powdered color mixed with glue and water, with chalk
+added to give body. This was sometimes applied with woodblock or stencil
+but most often it was simply painted in by hand over a blockprinted
+outline. Often the painting was done directly on the wall after the
+paper was hung. These wallpapers were weak when examined critically, but
+nobody worried as long as a light bright pastel effect was obtained.
+Jackson's vigorous drawing and woodcutting were out of place in this
+field. They were, like his tonal exactitude that made holes in the wall,
+a distraction and an offense against interior decoration.
+
+Jackson's business, therefore, did not prosper. In a last effort to stir
+up public interest he published, in 1754, his well-known little book,
+_An Essay on the Invention of Engraving and Printing in Chiaro Oscuro_,
+illustrated with eight prints in "proper colours." It sold for two
+shillings and sixpence. The style was rather florid but his arguments
+were presented with such vigor that it is easy to see why critics have
+found it difficult to refrain from quoting at length. The main body of
+text is only eight pages long, with an additional eight pages of
+subsidiary descriptive material attached to the pictures.
+
+On the title page appeared his favorite passage from Pascal, used
+previously on the title page of the _Enquiry_: "Ceux qui sont capables
+d'inventer sont rares: ceux qui n'inventent point sont en plus grand
+nombre, et par consequent les plus forts." The first few pages of the
+_Essay_ enlarge on this theme:
+
+  It has been too generally the Fate of those who set themselves to
+  the Inventing any Thing that requires Talents in the Discovery, to
+  apply all their Faculties, exhaust their Fortune, and waste their
+  whole Time in bringing that to Perfection, which when obtained, Age,
+  Death, or Want of sufficient Supplies, obliges them to relinquish,
+  and to yield all the Advantages which their Hopes had flattered them
+  with, and which had supported their Spirits during their Fatigues
+  and Difficulties, to others; and thus leave behind them an
+  impoverish'd Family incapable to carry on their Parent's Design, and
+  too often complaining of the projecting Genius of that Father who
+  has ruin'd them, tho' he has enriched the Nation to which he
+  belonged, and to which of Consequence he was a laudable Benefactor.
+
+He proceeds in this bitter vein for a time, then brings into the open
+the main purpose of the book:
+
+  Another Reason perhaps is, that the Artist being totally engaged in
+  the Pursuit of his Discovery, has but little Time to apply to the
+  Lovers and Encouragers of Art for their Patronage, Protection, and
+  Supplies necessary for the carrying on such a Design, or he has not
+  Powers to set the Advantage which would result from it in a true
+  Light; nor communicate in Words what he clearly conceived in Idea:
+  for certainly there are Men enough, who from the mere Desire of
+  increasing their Wealth, would give him that Assistance, which, like
+  the artificial Heat of a Greenhouse, would bring that Art to a
+  Ripeness, which would otherwise languish and die under the Coldness
+  of the first Designer, and which in this Union of Riches and
+  Invention would yield mutual Advantage to both.
+
+  There are besides this amongst the Great, without Doubt, many who
+  would gladly lend their Patronage to rising Arts, if they knew their
+  Authors....
+
+He gives as example the Duke of Cumberland, who had just sponsored a
+tapestry plant at Fulham, and follows with an outline of the honorable
+traditions of the woodcut, pointing out that Duerer, Titian, Salviati,
+Campagnola, and other painters drew their work on woodblocks to be cut
+by woodcutters, and adds that "even _Andrea Vincentino_ did not think it
+in the least a Dishonour, though a Painter, to grave on Wood the
+Landscapes of _Titian_." He builds up to the statement that Raphael and
+Parmigianino drew on woodblocks to be cut in chiaroscuro by Ugo da
+Carpi.
+
+  After having said all this, it may seem highly improper to give to
+  Mr. _Jackson_ [he speaks of himself throughout in the third person]
+  the Merit of inventing this Art; but let me be permitted to say,
+  that an Art recovered is little less than an Art invented. The Works
+  of the former Artists remain indeed; but the Manner in which they
+  were done, is entirely lost: the inventing then the Manner is really
+  due to this latter Undertaker, since no Writings, or other Remains,
+  are to be found by which the Method of former Artists can be
+  discover'd, or in what Manner they executed their works; nor, in
+  Truth, has the _Italian_ Method since the Beginning of the 16th
+  Century been attempted by any one except Mr. _Jackson_.
+
+We cannot help concluding that Jackson was falsifying here. Taking
+advantage of the public's ignorance, he was puffing up his historical
+importance in order to sell wallpaper. If the _cognoscenti_ complained
+that he had buried the chiaroscurists after da Carpi, he always had the
+explanation that others did not work in the Italian style, which he
+neglected to describe. Jackson knew what he was doing; he was not as
+ignorant of art history as Hardie and Burch have surmised, although it
+is true that he was not always certain as to dates, since he believed
+Andreani worked as a contemporary of da Carpi. In the _Enquiry_,
+published only two years earlier, he had shown familiarity with the
+prints of Goltzius, Coriolano, Businck, Nicolas and Vincent Le Sueur,
+Moretti, and Zanetti, all of whom had worked to some extent in the
+Italian manner.
+
+Some writers have reacted strongly to this paragraph. Losing their sense
+of proportion, they have been led to the conclusion that Jackson was
+little better than a charlatan and that his work as a whole reflected
+his low ethics. In some instances his culpability has been magnified:
+Benezit has even charged him with claiming to have invented color
+printing.
+
+The worst result of Jackson's insistence on re-inventing the Italian
+manner was that it made a major issue of what was at best a minor honor.
+It minimized such technical contributions as the following, which did
+not follow traditional recipes:
+
+  ... Mr. _Jackson_ has invented ten positive Tints in _Chiaro
+  Oscuro_; whereas Hugo di Carpi knew but four; all of which can be
+  taken off by four Impressions only.
+
+This technical system was used for the Venetian chiaroscuros, the
+portrait of Algernon Sidney after Justus Verus, and others. He did not
+mention that he needed a greater range of tones because he was working
+after oil paintings, not drawings. The introduction of full color from a
+series of blocks to translate water colors is also mentioned in the
+_Essay_, but with no greater emphasis than in the _Enquiry_. Since his
+wallpaper was to be done in color as well as in chiaroscuro, and since
+the _Essay_ included four plates in color, it is astonishing that
+Jackson failed to make stronger claims for his originality in this
+development.
+
+He proceeded to describe his plan to replace wallpapers in the Chinese
+style with his papers, which, he stated, would have no "...gay glaring
+Colours in broad Patches of red, green, yellow, blue &c ... [with] no
+true Judgment belonging to it ... Nor are there Lions leaping from Bough
+to Bough like Cats, Houses in the Air, Clouds and Sky upon the
+Ground...."
+
+He proposed, instead, to use as subjects many of the famous statues of
+antiquity; the landscapes of Salvator Rosa, Claude Lorrain, Poussin,
+Berghem, Wouwerman, the views of Canaletto, Pannini--
+
+  Copies of the Pictures of all the best Painters of the _Italian_,
+  _French_ and _Flemish_ Schools, the fine sculptur'd Vases of the
+  Ancients which are now remaining; in short, every Bird that flies,
+  every Figure that moves upon the Surface of the Earth from the
+  Insect to the human; and every Vegetable that springs from the
+  Ground, whatever is of Art or Nature, may be introduced into this
+  Design of fitting up and furnishing Rooms, with all the Truth of
+  Drawing, Light, and Shadow, and great Perfection of Colouring.
+
+This vast gallery of art and nature was to be printed in "Colours
+softening into each other, with Harmony and Repose...."
+
+Even if we feel that Jackson was building up his project to attract
+attention, or that he was intoxicated by the idea of creating art on
+such a grand scale, there is still something wrong in his conceiving it
+in terms of wallpaper. What is certain is that Jackson was desperately
+anxious to create color prints. In the absence of art patrons, wallpaper
+was his only excuse for continuing as an artist. As a business venture
+it was absurd, even tragic. There is good reason to believe that Jackson
+lacked capital and rented the quarters for his business: his name does
+not appear in the Poor Rate Book of that period in the Borough of
+Battersea.
+
+From a certain standpoint, this excursion by Jackson into wallpapers
+featuring Roman ruins and classical antiquity appeared to come at an
+appropriate time. Marco Ricci's paintings as well as the somewhat later
+work of Pannini and Zuccarelli, and Guardi's early ruin pieces, were
+already known. Ricci had visited England from 1710 to 1716. Zuccarelli
+had come twice, once in 1742 and again in 1751 to stay until 1773,
+becoming a foundation member of the Royal Academy; his classical
+landscapes with their glib charm had a comparatively good reception. But
+the strongest influence was undoubtedly that of Piranesi, whose powerful
+etchings brought to life as never before the ravaged stones of Imperial
+Rome and the _Campagna_. Their effect was widespread and electrifying,
+although it was not until the 1760's that they developed their full
+force as an influence on English architecture and furniture design, and
+came to supersede the Palladian style brought to England by Inigo Jones
+at the beginning of the 17th century.
+
+Jackson was too early; public taste was not yet ready for picturesque
+landscape or antique forms in wallpaper. But the style became dominant
+in the latter 18th century, particularly in England and France, and was
+also exported to America. While it is difficult to estimate the degree
+of Jackson's influence in this development, we know that no scenic
+papers can be dated before the Ricci prints, or before Jackson's
+wallpaper venture. Oman[39] comments:
+
+  The use of wall-paper to imitate large architectural designs dates,
+  as we have seen, from the days of J. B. Jackson. During the
+  remainder of the century this style was used almost exclusively for
+  decoration of the halls and staircases of great houses.
+
+    [Footnote 39: Oman, 1929, p. 33.]
+
+These papers covered rooms with landscape panoramas or with landscapes
+in Rococo scroll frames, relieved by decorative panels with busts,
+statuettes, and floral ornaments. As in preceding work, they were
+usually painted in opaque water colors. Most of the landscapes were
+loose transcriptions of designs by Pannini, Vernet, Lancret and other
+painters of architectural, scenic, and pastoral subjects. The treatment
+was generalized and superficial, the touch light and detached.
+
+In this approach to wallpaper we see the basic ideas of Jackson, but
+with more emphasis on charm and elegance. Ironically, as years passed
+and original sources grew obscure, it became the tendency to attribute
+scenic papers in great houses to Jackson.[40] If he was a failure as a
+pioneer in the field, he remained its most highly prized legend.
+
+    [Footnote 40: An excellent description of the papers of this type
+    imported to America is given by Edna Donnell in _Metropolitan
+    Museum Studies 1932_, vol. 4, pp. 77-108.]
+
+The _Essay_ continued with a criticism of the current taste in
+wallpaper. Jackson enlarged on the lack of discrimination of persons who
+would prefer popular papers to his.
+
+  It seems, also, as if there was great Reason to suspect wherever one
+  sees such preposterous Furniture, that the Taste in Literature of
+  that Person who directed it was very deficient, and that it would
+  prefer _Tom D'Urfy_ to _Shakespear_, _Sir Richard Blackmore_ to
+  _Milton_, _Tate_ to _Homer_, an _Anagrammatist_ to _Virgil_,
+  _Horace_, or any other Writer of true Wit, either Ancient or Modern.
+
+He added that his prints, made in oil colors, would be permanent
+"whereas in that done with Water-Colours, in the common Way, Six Months
+makes a very visible Alteration in all that preposterous Glare, which
+makes its whole Merit...."
+
+The _Essay_ has eight plates, four of ancient statues in chiaroscuro and
+four of plants, animals, and buildings, in probably six colors. They
+were hastily done and no doubt had a rather fresh charm when published,
+but unfortunately the oil in the pigments was inferior, and every print
+in the book has darkened and yellowed badly. The prints and neighboring
+pages are heavily spotted and stained. This book which should have been
+his vindication became instead an argument for his lack of merit,
+especially to those who were not familiar with his other work.
+
+We do not know how large a working force Jackson had or how many of the
+projected plates he planned to assign to helpers or to carry out
+himself. Some of the decorative borders from four blocks, blue, red,
+yellow, and gray-green, he undoubtedly made and printed himself. They
+are heavy and rather fruity in effect but are incisively drawn and cut.
+Also bearing Jackson's stamp are some ornamental frames with fruit and
+flowers in the same full range of colors.
+
+An album ascribed to him, in the collection of the Victoria and Albert
+Museum, contains drawings of flowers, foliage, details of ornament and
+hand-colored designs, and a proof of the woodcut for the title page to
+the _Suetonius_ of 1738. Five of the drawings are signed or initialed by
+Jackson, with dates from 1740 to 1753. The designs, which might have
+been intended for calico or wallpaper, are poorly done and not at all in
+his style. The drawings are competent but cannot definitely be
+considered his, notwithstanding the signatures, since we do not know
+Jackson's handwriting from other sources. The most that can be said for
+this album is that it probably comes from his workshop.
+
+While producing wallpaper, Jackson still made efforts to attract
+sponsors for full editions of his earlier chiaroscuros. The _Woman
+Meditating_ was dedicated to the Antiquarian Society of London. _Christ
+Giving the Keys to St. Peter_, rejected by Crozat, we assume, was
+dedicated to Thomas Hollis, whom Jackson may have met in Venice. And the
+_Venus and Cupid with a Bow_ was inscribed to Thomas Brand, lifelong
+companion of Hollis who later added to his name the latter's patronymic.
+The _Algernon Sidney_ has no dedication, but since Hollis was a Sidney
+specialist and edited the first one-volume edition of his works in 1769,
+there is a strong likelihood that the print had some connection with
+this liberal gentleman. Jackson made it either in Venice just before he
+left, or in England shortly after his arrival.
+
+Robert Dunbar, Jr., who had inherited the wallpaper manufactory on his
+father's death, went out of business late in 1754. In his possession was
+a quantity of Jackson's papers, for which he was the main outlet. With
+this backlog of papers on hand, and no large distributor, Jackson's
+venture collapsed. This happened shortly after the publication of the
+_Essay_, and its author was never to have the opportunity to carry out
+his grandiose plans.
+
+Jackson appealed to Hollis, who wrote to his former mentor, Dr. John
+Ward, professor of rhetoric at Gresham College and the head of a society
+founded by noblemen and gentlemen for the encouragement of learning:[41]
+
+  Dear Sir!-- Do Me the Favour to accept these four prints of
+  Jackson's. They are no where sold, & will soon be scarce. When You
+  consider their Merit, I am confident You will lament the hard Fate
+  of the ingenious Artist; who, at this Time, in his old age, & in his
+  own Country is unprotected unnoticed, and can difficultly support
+  Himself against immediate distress & Ruin.
+
+  I am, with great Respect,
+
+  Dear Sir!
+
+      Your obliged affect humble Servant
+
+      T. Hollis
+
+  Bedford Street, February 10, 1755
+
+    [Footnote 41: British Museum Add. mss. 6210.]
+
+We do not know the results of this appeal. In any case Jackson seems to
+have faded out as an artist. Little is known of his subsequent career up
+to the time more than twenty years later, when Bewick mentions meeting
+him in advanced age. In 1761 he made a drawing of Salisbury Cathedral
+for Edward Eaton, "bookseller at Sarum," for a line engraving dedicated
+by Eaton to the Lord Bishop of Winchester. This large view included
+figures in the foreground in an attempt to give animation to the scene.
+Unfortunately the engraver, John Fougeron, was little more than an
+amateur. His execution was feeble and mechanical: Jackson's drawing
+suffered so badly that its quality cannot be determined. This print was
+copied on a smaller scale in a steel engraving by J. B. Swaine,
+published by J. B. Nichols & Son in 1843, but it was hardly an
+improvement.
+
+Bewick's recollections of Jackson, written about forty years after their
+meeting in Newcastle, imply that Jackson stayed in that city for a
+period. The Town Clerk's Office, however, has no record of his
+residence. The following passage from Bewick's _Memoir_ is the last
+evidence[42] bearing on Jackson:
+
+  Several impressions from duplicate or triplicate blocks, printed in
+  this way, of a very large size, were also given to me, as well as a
+  drawing of the press from which they were printed, many years ago,
+  by Jean Baptiste Jackson, who had been patronised by the King of
+  France; but, whether these prints had been done with the design of
+  embellishing the walls of houses in that country, I know not. They
+  had been taken from paintings of eminent old masters, and were
+  mostly Scripture pieces. They were well drawn, and perhaps correctly
+  copied from the originals, yet in my opinion none of them looked
+  well. Jackson left Newcastle quite enfeebled with age, and, it was
+  said, ended his days in an asylum, under the protecting care of Sir
+  Gilbert Elliot, Bart., at some place on the border near the Teviot,
+  or on Tweedside.
+
+    [Footnote 42: Bewick, 1925, pp. 213-214.]
+
+If Bewick was correct in reporting that Jackson died while under the
+protection of Sir Gilbert Elliot, probably in a Poor Law institution, it
+is unlikely that the date could have been much later than 1777, the year
+in which Sir Gilbert died. This would place the meeting of both artists
+shortly before this time, when Bewick was in his early twenties (he was
+born in 1753). Sir Gilbert lived in Minto House, Roxburghshire,
+Scotland, but no evidence can be found for the supposition that Jackson
+died in the vicinity. No obituary has been discovered. The record of
+Jackson's death, if it exists, probably lies in a parish register
+somewhere on the Scottish border.
+
+
+
+
+_Critical Opinion_
+
+
+In most histories of prints it was considered sufficient to note that
+certain artists worked in woodcut chiaroscuro; the quality of such work
+was rarely discussed. But Jackson was an exception: something about his
+prints aroused critics to defense or attack. The cleavage is absolute,
+strange for one who was presumably a mere reproductive artist. Nothing
+could show more clearly the unsettled nature of Jackson's standing than
+a sampling of these opinions.
+
+Horace Walpole in a letter, dated June 12, 1753, to Sir Horace Mann
+describing the furnishings in Strawberry Hill, commented:[43]
+
+  The bow window below leads into a little parlour hung with a
+  stone-colour Gothic paper and Jackson's Venetian prints, which I
+  could never endure while they pretended, infamous as they are, to be
+  after Titian, &c., but when I gave them this air of barbarous
+  bas-reliefs, they succeeded to a miracle; it is impossible at first
+  sight not to conclude that they contain the history of Attila or
+  Tottila done about the very era.
+
+    [Footnote 43: _The Letters of Horace Walpole_, ed. Toynbee, 1903,
+    vol. 3, p. 166.]
+
+Von Heinecken[44] says they are "in the manner of Hugo da Carpi but much
+inferior in execution." But Huber, Rost, and Martini[45] noted Jackson's
+independent approach:
+
+  Jackson's prints, which are certainly not without merit, are in
+  general less sought after by collectors than they deserve. His style
+  is original and is concerned entirely with broad effects.
+
+    [Footnote 44: Von Heinecken, 1771, p. 94.]
+
+    [Footnote 45: Huber, Rost, and Martini, 1808, vol. 9, pp.
+    121-123.]
+
+Baverel[46] also had a high opinion of Jackson's work. Describing the
+Venetian prints, he says that Jackson "had a skillful and daring attack,
+and it is regrettable that he did not produce more work." Nagler's[47]
+criticism typifies the academic preconceptions of some writers on the
+subject of chiaroscuro:
+
+  Jackson's works are not praiseworthy throughout in drawing, and also
+  he was not thoroughly able to apply the principles of chiaroscuro
+  correctly.... Yet we have several valuable prints from Jackson....
+
+    [Footnote 46: Baverel, 1807, vol. 1, pp. 341-342.]
+
+    [Footnote 47: Kuenstler-Lexicon, op. cit.]
+
+And Chatto[48] remarks:
+
+  They are very unequal in point of merit; some of them appearing
+  harsh and crude, and others flat and spiritless, when compared with
+  similar products by the old Italian wood engravers.
+
+    [Footnote 48: Chatto and Jackson, 1861, p. 455.]
+
+With this verdict W. J. Linton[49] disagrees, saying, "...Chatto
+underrates him. I find his works very excellent and effective. _The
+Finding of Moses_ (2 feet high by 16 inches wide) and _Virgin Climbing
+the Steps of the Temple_ (after Veronese), and others, are admirable in
+every respect...." Duplessis[50] attacks the Venetian set heatedly and
+at length, yet he devotes more space to expounding Jackson's
+deficiencies than to discussing the work of any other woodcut artist,
+even Duerer or da Carpi.
+
+    [Footnote 49: Linton, 1889, p. 214. The second print mentioned is
+    after Titian, not Veronese.]
+
+    [Footnote 50: Duplessis, 1880, pp. 314-315. Duplessis, who was
+    _conservateur-adjoint_ in the Cabinet des Estampes of the
+    Bibliotheque Nationale, no doubt based his judgment on the
+    impressions in that collection. Certainly few of these were
+    printed by either Jackson or Pasquali.]
+
+On the evidence we have, the new conception Jackson brought to
+printmaking was not fully understood until the 20th century. Pierre
+Gusman[51] in 1916 probably first noted the technical distinction
+between Jackson's work and earlier chiaroscuros.
+
+  He [Jackson] conceived his prints in a different way from the
+  Italians, bringing in new aspects in accenting values and planes,
+  because he did not reproduce drawings but interpreted paintings. The
+  whites even show embossings in the paper to make the light vibrate,
+  and a specially cut block is sometimes impressed to help in modeling
+  the forms. Jackson, in short, very much the wood carver, combined
+  the resources of the cameo with those of the chiaroscuro and
+  produced curious works of combined techniques, but without equaling
+  his predecessors, who were particularly remarkable for their
+  simplicity of style and treatment.
+
+    [Footnote 51: Gusman, 1916, pp. 164, 165.]
+
+One year later, in 1917, Max J. Friedlaender[52] commented that relief
+effects in block printing were not alien additions but natural
+consequences of the method. His main emphasis, we note, is on the Ricci
+prints.
+
+  A peculiarity of the color woodcut, which first was put up with as a
+  characteristic of the technique but finally was enhanced and
+  utilized fully as a means of expression, is the physical relief that
+  stands out in thick and soft paper with the sharp pressure of die
+  wood-blocks.... No one has employed the relief of the woodcut so
+  consciously and artfully as the Englishman John Baptist Jackson in
+  the eighteenth century, who, particularly in some landscapes,
+  created most effective and richly colored sheets. He has gone so far
+  as to express forms in "blind-printing," entirely without bordering
+  lines or contrasting colors, merely through relief pressing.
+
+    [Footnote 52: Friedlaender, 1926 (1st ed. 1917), pp. 224-226.]
+
+Anton Reichel's important history of chiaroscuro, with its magnificent
+color plates in facsimile, appeared in 1926.[53] He says of Jackson that
+his activity in chiaroscuro was "extraordinarily rich," that he created
+broad approximations of his subjects which made him neglect details, but
+that these were "convincingly translated into the language of the
+woodcut."
+
+  Five heroic landscapes after M. Ricci represent the artistic high
+  point of his work, having a distinctive richness of color not
+  previously attained by any other master of chiaroscuro. Each of the
+  prints has a complete harmony of colors; the single color
+  blocks-- over ten can be counted in each print-- which show in their
+  separate tones the extraordinarily cultivated taste of the artist,
+  give the composition a decorative effect far from any realistic
+  imitation of nature.... The relief impressed with the blocks is so
+  strong that, going beyond all other prior attempts of the kind, it
+  represents an essential factor of the composition through its actual
+  light-and-shadow effects.
+
+    [Footnote 53: Reichel, 1926, p. 48.]
+
+Although by this time Jackson's chiaroscuros were regarded with respect
+and his color prints were acknowledged to be of prime importance, some
+of the conservative wallpaper historians were still repelled by their
+vigor, which did not suit genteel notions of interior decoration. Sugden
+and Edmondson[54] in 1925 certainly failed to understand both Jackson's
+work and the period in which it was done. They comment:
+
+  Jackson's bold claims to originality and merit are scarcely borne
+  out by anything he is known to have achieved. That he had a vogue,
+  however, seems certain, for apart from his "Essay" he has come down
+  to us as a historical figure. To modern tastes in art many of his
+  productions seem almost monstrous, and yet they were to some extent
+  the expression of the time-spirit in which they were born.
+
+    [Footnote 54: Sugden and Edmondson, 1925, p. 71.]
+
+
+  [Transcriber's Note:
+
+  The color Plates were printed after the first page of Postscript, at
+  the mid-sentence point "they preferred imitations of sentimental, /
+  banal, story-telling oil paintings".]
+
+    [Illustration:
+    1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael]
+
+    [Illustration:
+    2. VENUS AND CUPID WITH A BOW, after Parmigianino]
+
+    [Illustration:
+    5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino]
+
+    [Illustration:
+    13. DESCENT FROM THE CROSS, after Rembrandt]
+
+    [Illustration:
+    43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS, AND OBELISK,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS AND HORSEMEN,
+    after Marco Ricci, Detail]
+
+    [Illustration:
+    49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL'S HEAD
+    59. WOMAN STANDING HOLDING APRON]
+
+    [Illustration:
+    53. BUILDING AND VEGETABLE]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, left sheet]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, center sheet]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, right sheet]
+
+
+
+
+_Postscript_
+
+
+While Jackson had an influence on a small coterie, it did not prolong
+the life of the color woodcut. In Europe the medium did not survive his
+disappearance in 1755; no doubt it seemed to later artists intractable
+and lacking in nuance. The black-and-white woodcut, moreover, went into
+further decline and was almost entirely disregarded except for the
+rudest sort of work. Almost a century and a half were to pass before
+Gauguin and Munch swept aside old taboos and found exciting new
+possibilities for color in the woodcut process.
+
+The lack of interest in the color woodcut was also the result of new
+techniques in the copper-plate media, techniques that could be adapted
+to color printing. In 1756 J. C. Francois introduced the crayon manner,
+an etching process that could imitate the effects of chalk and crayon
+drawings. During the following decades numerous technical variations
+were developed, the most popular being the pastel manner, the stipple,
+and the aquatint.
+
+Of these methods only aquatint survived after early years of the 19th
+century. It was less limited than its companion processes and had wide
+application in rendering the effect of water-color wash. But color work
+in this medium, however attractive to a public that appreciated delicacy
+and charm, did not have mass appeal. The new audience created by the
+advancing Industrial Revolution wanted printed pictures of a less subtle
+type; they preferred imitations of sentimental, banal, story-telling oil
+paintings with a high, waxy finish. Neither aquatint nor other
+copper-plate media were suitable for these products, and color
+lithography did not receive serious attention until the late 1830's. The
+wood engraving, which had inherited the function of the woodcut and
+which had greater flexibility in rendering tones and details, became the
+logical vehicle for the new color picture.
+
+In this situation Jackson suddenly appeared as the pioneer, as the
+father of printed pictures based upon paintings in oil or water colors.
+His intention had been translation rather than imitation and he would
+have abhorred the feeble new product, but this did not concern his
+successors-- they were interested only in his technical principles.
+Moreover, in their naivete, they imagined they were improving on Jackson
+because their prints were counterfeit paintings while his were not.
+
+The earliest picture printers therefore, used wood engraving. Among them
+were Frederich W. Gubitz of Berlin, who began the revival about 1815;
+William Savage[55] of London, a printer who published a book describing
+his project in 1822; and George Baxter of London, whose work dates from
+about 1830. All started with chiaroscuro and moved to full color from a
+large number of wood blocks, although in 1836 Baxter began printing his
+transparent oil colors over a base of steel engraving reinforced with
+aquatint. Only Baxter persevered and was rewarded by sensational popular
+success. His glassy and trivial prints with their high sweet finish
+enjoyed a vogue among collectors that lasted into the 20th century. In
+about 1860, however, he was driven from the market by the rise of a
+cheaper medium, chromolithography, which was responsible in the next few
+decades for a universal outpouring of popular bathos. This was picture
+printing in color geared for the mass audience.
+
+    [Footnote 55: Savage, 1822. Jackson's pioneer work is
+    acknowledged, pp. 15-16.]
+
+It may seem an anticlimax to trace the color woodcut from Jackson to
+Baxter, and finally to chromolithography, but it is not irrelevant.
+Although spurned by the better artists, color had too popular an appeal
+to be ignored. It was inescapable that Jackson's successful technical
+procedures should finally be adopted and corrupted in the area of
+commerce.
+
+Woodcut artists up to Jackson, with few exceptions, had used color for
+one major purpose, to reproduce drawings in line and tone. By enlarging
+the conception of the color woodcut Jackson brought the primitive
+chiaroscuro phase of its history to an end. After him, the chiaroscuro
+could not be practiced again except as an archaism.[56] The way was open
+for the modern woodcut, although it was a long time in coming.
+
+    [Footnote 56: Only one moderately important chiaroscurist can be
+    mentioned, John Skippe, who worked in England from the 1770's to
+    about 1810.]
+
+The range of Jackson's work in tone and color exceeded that of all
+previous woodcutters and can be divided as follows: (1) chiaroscuros--
+after drawings, after paintings, after his own pen and ink drawings
+after paintings, interpretations of engravings and etchings, and
+interpretations of sculpture; and (2) full color-- after paintings in
+gouache and after his own water colors. In addition he treated pictorial
+subjects in flat color areas without a key or outline block, a procedure
+used before him only by the 17th-century Chinese; and he combined burin
+work with knife cutting.
+
+But Jackson's reputation, in the long perspective, must rest upon his
+qualities as an artist. He had great distinction as a colorist but
+lacked originality as a designer and was dependent upon others, for the
+most part, for basic compositions. As an interpreter of these
+compositions, however, he was imaginative and forceful. He did not
+follow the example of most copper plate engravers and reproduce subjects
+faithfully; his conception of the woodcut as a frank medium precluded
+exact rendition. Except, possibly, for his first chiaroscuro, he always
+translated freely, with the aim of making good woodcuts rather than
+accurate representations of his subjects. Jackson's work after others,
+in short, was consciously intended as artful approximation. This
+emphasis on the spirit rather than the letter, together with his novel
+techniques, often gave his prints a somewhat hybrid character-- an
+ambiguous look that might serve to explain the uneasy feelings of many
+critics. But his largeness of feeling is unmistakable, and this is what
+finally places him among the masters.
+
+The color woodcut is now an important form of printmaking. For this
+medium in the Western world, Jackson is the main ancestral figure.
+
+
+
+
+CATALOG
+
+
+Jackson's chiaroscuros and color woodcuts have been grouped under three
+headings. The first and main section includes, besides those of
+unquestionable authenticity, prints which can be attributed to Jackson
+with some degree of certainty and those actually seen by earlier writers
+but which have apparently disappeared. In each case the status of the
+print in Jackson's _oeuvre_ has been noted.
+
+The second section lists pieces believed to be by Jackson's workshop.
+Prints that might have been done independently by close followers have
+been included here because we have no evidence that would permit
+distinctions to be drawn.
+
+The last section lists unverified subjects attributed to Jackson in a
+number of museums but which have been lost through war or other causes,
+and doubtful titles found in Nagler and Le Blanc. In each category the
+prints have been listed in chronological order as far as this can be
+determined. The sequence of the Venetian set follows Jackson's
+description in the _Enquiry_, although the prints themselves are dated
+somewhat differently.
+
+One difficulty in cataloging Jackson's work is the prevailing confusion
+in titling, the same prints being listed differently in different
+collections. This was to be expected since the artist almost invariably
+omitted titles. Nagler's and Le Blanc's catalogs are not descriptive and
+consequently there has been much guesswork in checking titles,
+particularly since the Venetian set and the Ricci prints are only
+partially listed by both writers, and not entirely correctly. Where
+subjects have not been recorded at all, the variation in titling has
+been greater.
+
+The location of prints has been given, with the exception of those in
+the Venetian set and in the _Essay_, which are, in part or whole, in too
+many collections to make listing feasible. It is not to be taken as
+complete. Jackson prints in a number of museums, particularly in
+Germany, have disappeared but might turn up again; some are still packed
+in boxes and await return to collections. For the sake of simplicity the
+names of cities alone have been used with the understanding that the
+chief print collection is meant. Exceptions are Boston where the Museum
+of Fine Arts is abbreviated to MFA and the Fogg Art Museum is shortened
+to Fogg, New York where the Metropolitan Museum of Art is listed as MMA
+and the New York Public Library as NYPL, and London where the British
+Museum is noted as BM and the Victoria & Albert as V & A.
+
+The woodcuts reproduced are numbered according to this catalog, and
+placed as nearly as possible in the same order. When prints have been
+listed by Nagler or Le Blanc their corresponding numbers have been
+included. Print sizes are given in inches, vertical sides first.
+
+
+_Prints by Jackson_
+
+  [Transcriber's Note:
+
+  The "Inscriptions" are shown as nearly as possible as printed.
+  Typographic features such as the use of long "s" (shown here as [s])
+  and variation between italic and non-italic small capitals are
+  reproductions of the original. The ligatures [ae] and [oe] are shown
+  in brackets. Raised dots are shown as [.].
+
+  Superscript letters are shown in {braces}. Small capitals (non-italic)
+  are shown +like this+; italic small capitals =like this=.]
+
+
+1.
+
+_Christ Giving the Keys to St. Peter_, after Raphael    [Le Bl. 7, N. 9]
+
+Dimensions:
+
+  7-1/4 x 9-3/4 inches with letters, 6-1/2 x 9-3/4 inches without
+  letters.
+
+Blocks, 4:
+
+  Light brown, light gray-brown, gray-brown, black.
+
+Inscription, lower left:
+
+  "_Raph. Urb. inv._"
+
+Below, under border:
+
+  "+Tho. Hollis+ _Arm._ Hospit. Lincoln. D. D. D. J. B. Jack[s]on
+  _sculptor_."
+
+About 1727. The dedication was added about 1750. After a drawing, now in
+the Louvre, for Raphael's tapestry cartoons.
+
+  MFA, BM, Berlin-Dahlem
+
+
+2.
+
+_Venus and Cupid with a Bow_, after Parmigianino
+
+Dimensions:
+
+  9-3/4 x 6-1/4 inches with letters, 8-3/4 x 6-1/4 inches without
+  letters.
+
+Blocks, 4:
+
+  Buff, light brown, terra-cotta red, black.
+
+Inscription, bottom:
+
+  "+Tho. Brand+ _Arm._ Hospit. Temp. D. D. D. / J. B. Jack[s]on
+  _sculptor_."
+
+Left, running vertically:
+
+  "_F. M. Parm. inv._"
+
+1731.
+
+The dedication was added about 1750. Other impressions occur in a
+combination of green and brown and also in gray and green. Five
+impressions are in the British Museum including one in which two
+slanting vertical lines in the table immediately to the left of Cupid's
+left leg are omitted.
+
+Philadelphia, MFA, BM, V&A, Berlin-Dahlem, Rotterdam, Brussels
+
+
+3.
+
+_Woman Standing Holding Jar on Her Head_, after Parmigianino
+
+Dimensions:
+
+  6-3/4 x 3-1/2 inches.
+
+Blocks, 2:
+
+  Mustard yellow, black.
+
+Inscription, at bottom:
+
+  "_Per Illustri, ac Pr[ae]claro Viro +Joseph Smith+ / J. B. Jackson
+  Humiliter Dedicat Donat, et / Sculpsit._ 1731."
+
+Another state has the following added in small letters:
+
+  "Antonius Ma Zanetti a Jacobo Parmense Delin."
+
+The block for the tone is in two versions. The one illustrated is dotted
+in the jar to show gradations, while the other one is more loosely
+handled.
+
+Free copy of line engraving by G. A. Faldoni.
+
+  BM, V&A
+
+
+4.
+
+_Headpiece with Landscape and Ruins_
+
+This print is listed in the Staatliche Kunstsammlungen, Dresden, but has
+been lost in the war. No information as to color or size is available.
+The card catalogue has the following description:
+
+  "Ruins to the left. In the middle going over a river is a bridge.
+  To the right is a city view with campanile, dome and other buildings.
+  Dated 1731."
+
+Probably made for use in a book. This seems to be the print described by
+Baverel and the "_petite vue_" Papillon mentioned.
+
+
+5.
+
+_Woman Meditating_ (_St. Thais?_), after Parmigianino
+
+Dimensions:
+
+  15-3/8 x 9-1/4 inches with letters, 10-3/4 x 9-1/4 inches without
+  letters.
+
+Blocks, 2: Pale brown, black. Also in green and blue-green.
+
+  After etching by Parmigianino (B. 10).
+
+Inscription, left near top, running diagonally upward:
+
+  "_F: M: Parmen* / Inventor / J: B: Jack[s]on Del / Sculp & excudit._"
+
+Bottom, beneath lower border:
+
+  "+Societati Antiquari[ae] Londinensi+ / _Humillime_ D.D.D. _J.B.J_
+
+  _Certo da cor, ch' alto de[s]tin non Scel[s]e,
+  Son l'impre[s]e magnanime neglette;
+  Ma le bell' alme alle bell' opre elette
+  Sanno gioir nelle fatiche eccel[s]e;
+  Ne bia[s]mo popular, frale catena,
+  Spirto d'onore, il [s]uo cammin raffrena."_
+
+This inscription was added much later, about 1750.
+
+  MFA, MMA, Philadelphia
+  BM, Berlin-Dahlem, Vienna, Bremen, Brussels, Amsterdam, Dresden
+
+
+6.
+
+_Ulysses and Polyphemus_, after Primaticcio
+
+Dimensions:
+
+  7-3/4 x 10-1/8 inches.
+
+Blocks, 2:
+
+  Greenish yellow, black.
+
+Inscription, bottom right:
+
+  "J. 9"
+
+Some copies lack the inscription. This is from plate 9 of Theodor Van
+Thulden's 58 etchings reproducing designs by Primaticcio in
+Fontainebleau, published as "_Les Travaux d'Ulisse_" by P. Mariette in
+Paris, 1633.
+
+These etchings were published again in 1740 as "_Errores Ulyssis_."
+Listed as by Jackson in Weigel's _Kunstlagercatalog_, 1843, vol. 2., p.
+103.
+
+  BM, V&A
+
+
+7.
+
+_Bookplate_
+
+Dimensions:
+
+  4-1/4 x 6 inches, approximately.
+
+Blocks, 2:
+
+  Reddish brown, black.
+
+Inscription left and right top, in ribbon:
+
+  "+Litterarum Felicitas+"
+
+  BM
+
+
+8.
+
+_Judgment of Solomon_, after Rubens
+
+Dimensions:
+
+  17 x 20-3/8 inches.
+
+Blocks, 4:
+
+  Yellow-buff, light brown, violet-brown, dark brown.
+
+Inscription, lower right:
+
+  "_Ill.{mo} et Exc.{mo} D.D. +Philippo Farsetti+, / Patritio =Veneto=,
+  Patrono suo Benefic.{mo}_ / Tabulam _hanc =Petri Pauli Rubens=. / In
+  Ligno c[oe]lavit, et in sui Obsequii et grati Animi / Monumentum
+  humiliter Devovet J. B. Jackson._"
+
+1735.
+
+  BM, Brussels, Venice
+
+
+9.
+
+_The Visitation_, after Annibale Carracci
+
+Dimensions:
+
+  14-1/4 x 10-1/4 inches.
+
+Blocks, 4:
+
+  Light yellow, buff, brown, dark gray.
+
+Inscription, upper right:
+
+  "_[AL]. Caratius Pinx{t}. / J: B: Jackson Fecit / +Venezia+ 1735._"
+
+Weigel described this print as _Der Besuch bei Elisabeth_ in his
+_Kunstlagercatalog_, 1843, vol. 2, p. 103.
+
+  Smithsonian Institution (U.S. National Museum)
+  MFA, Philadelphia, BM, Dresden
+
+
+10.
+
+_Julius Caesar_, after Titian
+
+Dimensions:
+
+  12 x 9-1/2 inches.
+
+Blocks, 4:
+
+  Tones of brown with dark brown key block.
+
+About 1738.
+
+This is a free translation of an engraving by Egidius Sadeler [Le Bl.
+143] after one of a series of Roman emperors attributed to Titian. The
+original paintings have been lost.
+
+  BM
+
+
+11.
+
+_St. Rocco_, after Cherubino Alberti
+
+Dimensions:
+
+  12-1/4 x 10-1/4 inches.
+
+Blocks, 3:
+
+  Green, reddish tan, black.
+
+  "S. Rocco" added by another hand.
+
+Some impressions lack the inscription. Also in two colors, mustard
+yellow and black.
+
+Free transcription of a line engraving by Cherubino Alberti after an
+undetermined painter (Le Bl. 61). A facsimile in grayed chartreuse and
+black was published by the Reichsdruckerei in Berlin, about 1925.
+
+  MFA, BM
+
+
+12.
+
+_Statuette of Neptune_, after Giovanni da Bologna    [Le Bl. 19, N. 8]
+
+Dimensions:
+
+  22-1/2 x 15-3/8 inches.
+
+Blocks, 4:
+
+  Tones of tan and brown.
+
+Inscription, bottom:
+
+  "_Ex Prototypo [Ae]reo +Joannis[.] Bolonia+ =Duacensis= in / Museo =D:
+  Josephi Smith= Venetiis. / J.B. Jack[s]on Anglus Sculp & exc._"
+
+About 1738.
+
+The first state is without letters. Third state has inscription on top
+of statue base,
+
+  "+Gul. Lloyd+ _Arm. D.D.D. J.B.J._"
+
+  Smithsonian Institution (U.S. National Museum)
+  MFA, Los Angeles, BM, Paris, Berlin-Dahlem, Wiemar, Amsterdam
+
+
+13.
+
+_Descent from the Cross_, after Rembrandt    [Le Bl. 10, N. 3]
+
+Dimensions:
+
+  14 x 11 inches (arched print).
+
+Blocks, 4:
+
+  Yellow, gray, light brown, dark violet-brown.
+
+Inscription, bottom left:
+
+  "_Rembrandt pinxit, alt. p. 1. lat. unc x.
+  Extat Venetiis in domo +J: Smith+._"
+
+Bottom right:
+
+  "_J: B: Jackson figuras juxta Archetypum Sculp. & excudit. 1738._"
+
+Bottom:
+
+  "Acceperunt ergo Corpus JESU, & ligaverunt illud linteis / cum
+  Aromatibus, sicut mos est Jud[ae]is sepelire. _S. Joan. Cap. +xix+
+  Ver. xi._"/
+
+Lower, with coat of arms:
+
+  "_Perillustri ac Praeclaro Viro =D. Josepho Smith= / Insigne hoc
+  Opus affabre in Ligno coelavit, & in sui / obseqii & grati Animi
+  monu-mentum humiliter devovet / J: B: Jackson_"
+
+Smithsonian Institution (U.S. National Museum)
+
+  MFA, Fogg, MMA, NYPL, Chapel Hill, Philadelphia
+  BM, Paris, Berlin-Dahlem, Vienna, Rotterdam, Hamburg, Prague
+
+
+14.
+
+_Christ and the Woman of Samaria_
+
+Dimensions:
+
+  14-1/4 x 20-3/8 inches.
+
+Blocks, 3:
+
+  Buff, greenish yellow, black.
+
+After a Bolognese master. Weigel described this as a "beautiful"
+chiaroscuro by Jackson.
+
+  MFA
+
+
+15.
+
+_Romulus and Remus, Wolf and Sea God_
+
+Dimensions:
+
+  2-3/4 x 7-1/2 inches.
+
+Blocks, 2:
+
+  Green, black.
+
+Attributed to Jackson. Probably an illustration for a book.
+
+  BM
+
+
+16.
+
+_The Death of St. Peter Martyr_, after Titian    [Le Bl. 16, N. 10]
+
+Dimensions:
+
+  21-1/4 x 13-1/2 inches.
+
+Blocks, 4:
+
+  Buff, pale greenish gray, brown, dark gray.
+
+Inscription, lower left (inside border):
+
+  "_J: B: Jackson Sculp: & Excudit Venetiis_ 1739."
+
+Outside bottom frame, center:
+
+  "+Titianus Vecellius Cad. Invenit & Pinxit.+"
+
+The painting was destroyed by fire in 1867.
+
+
+17.
+
+_The Presentation in the Temple_ (The Circumcision), after Veronese
+    [Le Bl. 4, N. 15]
+
+Dimensions:
+
+  21-1/8 x 15-1/8 inches.
+
+Blocks, 4:
+
+  Buff, reddish gray, dark gray, dark brown.
+
+Inscription, bottom:
+
+  "_Illustrissimo, & Erudito Viro +Carolo Frederick+ Armigero,
+  liberalium Artium Patrono, / =Pauli Cagliari= praeclarum hoc Opus
+  in Ligno coelatum, in grati animi argumentum humiliter_ D. D. D. /
+  _J: B: Jackson_."
+
+1739.
+
+
+18.
+
+_The Massacre of the Innocents_, after Tintoretto    [Le Bl. 5]
+
+Dimensions:
+
+  15-1/2 x 21 inches.
+
+Blocks, 4:
+
+  Buff, violet-gray, light brown, dark violet-brown.
+
+Inscription, center bottom:
+
+  "_Illustrissimo, / et Praeclaro Viro Dno. Dno. / +Smart Lethieullier+
+  / Erudit[ae] Antiquitatis Studioso / Investigatori, Tabellam hanc /
+  =Jacobi Robusti=_ in sui / obsequium D. D. D. _J: B: Jackson_."
+
+1739.
+
+
+19.
+
+_The Entombment_, after Jacopo Bassano    [Le Bl. 12., N. 5]
+
+Dimensions:
+
+  21-7/8 x 15-1/4 inches.
+
+Blocks, 4:
+
+  Buff, light reddish tan, gray, dark brown.
+
+Inscription on urn, above lower right-hand corner:
+
+  "_J: B: Jackson Delin Sculp & excudit 1739_"
+
+Across bottom:
+
+  "_Insignem hanc Tabulam a +Jacobo de Ponte+ depictam. Clarissimo Viro
+  +Jacobo Facciolato+ Seminarii Patavini Pr[ae]sidi; Archigymnasii
+  ornamenta / ingenii doctrin[ae], & in primis Latina eloquentia laude
+  celeberrimo J B Jackson D. C._"
+
+
+20.
+
+_Holy Family and Four Saints_, after Veronese
+
+Dimensions:
+
+  22-1/8 x 13-5/8 inches.
+
+Blocks, 4:
+
+  Light yellow, light greenish gray, dark brown, dark gray.
+
+Inscription, bottom center:
+
+  "_Perillustri et Nobili Viro =D{no} D{no}= / +Bourchier Wrey+
+  =Barronetto= / Generoso Artium Liberalium Fautori / in sui Obsequium_
+  D. D. D. _J. B. Jackson / P: C: Veronese Pinxit._".
+
+1739.
+
+
+21.
+
+_The Mystic Marriage of St. Catherine_, after Veronese
+    [Le Bl. 18, N. 4]
+
+Dimensions:
+
+  22 x 15-1/4 inches.
+
+Blocks, 4:
+
+  Pale greenish gray, pale violet-gray, medium greenish gray,
+  deep cold gray.
+
+Inscription, lower center:
+
+  "+Gulielmo Windham+ / _Armigero, Artium Elegantiorum / Fautori, hanc
+  Tabulam humillime / Dedicat / J. B. Jackson._"
+
+Bottom left:
+
+  "_Paulo Veronese Pinxit J B J f 1740_"
+
+Many impressions are found in brown tones.
+
+
+22.
+
+_The Crucifixion_, after Tintoretto    [Le Bl. 9, N. 13]
+
+Dimensions:
+
+  21-1/2 x 16-1/4 inches (left plate), 22-3/4 x 16-3/8 inches (center
+  plate), 21-1/2 x 16-1/2 inches (right plate).
+
+Blocks, 4:
+
+  Buff, light brown, gray, reddish brown.
+
+Inscription, bottom center (center plate):
+
+  "_Illustrissimo & Nob: Viro D{no}: D{no}: / +Richardo Boyle+ Comti de
+  Burlington & Cork &c. / Magn[ae] Britanni[ae] & Hiberni[ae] Pari,
+  Hiberni[ae] Archi-thesaurario / Heredetario, Nobilisimi Ordinis
+  Periscelidis Equiti &c. / Optim[ae] Architectur[ae] Instauratori ac
+  C[ae]terarum Artium Liberalium / Moecenati munificentissimo. /
+  Singolare hoc Opus a =Jacobo Robusti= depictam in Schola S: =Rocci=
+  Venetiis / adservatum. J: B: Jackson Anglus qui Ligno Coelavit
+  humillime D. D. C. 1741._"
+
+On shield, bottom center (center plate):
+
+  "+Honi Soit[.]Qui[.]Mal y Pense[.]+"
+
+Below shield, bottom center (center plate):
+
+  "+Honor[.] Virtutis[.] Premium.+"
+
+A bust portrait of a man in 18th-century dress is visible on the right
+knee of the woman with a child in the center background of the left
+sheet. It is not a likeness of Richard Boyle. Could this be a
+self-portrait by Jackson?
+
+A trial proof of the key block, center sheet, is in the Rosenwald
+Collection, National Gallery of Art.
+
+
+23.
+
+_Miracle of St. Mark_, after Tintoretto    [Le Bl. 15, N. 2]
+
+Dimensions:
+
+  22-1/4 x 17-3/4 inches (left sheet), 22-1/4 x 17-3/4 inches (right
+  sheet).
+
+Blocks, 4:
+
+  Buff, light brown, dark brown, dark gray.
+
+Inscription, lower left (left sheet):
+
+  "_Per illustri_ D{no} D{no} / +Eduardo Wright+, / _Armigero, /
+  pulcrarum Artium ex-/cultori vel sollertissimo, / hoc_ Jacobi Robusti
+  / _(communiter Tintoretto) / pr[ae]clarum opus in / su[ae] argumentum
+  ob-/servanti[ae] addicit, et / consecrat J. B. Jack[s]on._"
+
+
+24.
+
+_The Marriage at Cana_, after Veronese
+
+Dimensions:
+
+  23 x 16-3/4 inches (left sheet), 23 x 16-3/4 inches (right sheet).
+
+Blocks, 4:
+
+  Buff, dark buff, violet-brown, dark brown.
+
+Inscription, lower left (left sheet):
+
+  "_Paulo Cagliari / Veron: Pinxit._"
+
+Lower right (right sheet):
+
+  "Rev{mo.} D{no.} P. / _=Leopoldo Capello= Coenobii =D: Georgii= / Ord:
+  S: Benedict: / +Abbati+ / meritissimo. / J: B: Jackson_ / D. D. D."
+
+Extreme lower right (right sheet):
+
+  "_J: B: Jackson Delin: Sculp. / & excudit Venetiis 1740._"
+
+Jackson in the _Enquiry_ (p. 48) described this print, and the two
+preceding subjects, as being "in _Hugo's_ Manner with Improvements."
+
+
+25.
+
+_Presentation of the Virgin in the Temple_, after Titian
+    [Le Bl. 3, N. 18]
+
+Dimensions:
+
+  22 x 15-3/8 inches (left sheet), 22 x 17-7/8 inches (center sheet),
+  22 x 17-1/4 inches (right sheet).
+
+Blocks, 4:
+
+  Light grayish umber, medium brown, dark gray, dark brown.
+
+Inscription, lower left (left sheet):
+
+  "_Opus hoc admiratione sane dignum, cunctorumq; approbatione /
+  commendatum, ac Sacrarii Confratrum Caritatis Venetiarum /
+  poti[s][s]imum ornamentum, a_ Titiano Viccellio _Cadorensi, / Viro
+  pingendi arte pr[ae] c[ae]teris celeberrimo, coloribus quam / fieri
+  potest ad naturale expressum, adumbratumq; pro viribus / exscribere
+  studens J: B: Jackson delineavit, excudit, et ex[s]culpsit._ 1742."
+
+Lower right, on streamer (right sheet):
+
+"+Ducit[.] Amor Patri[ae].+"
+
+Lower right, in block (right sheet):
+
+  "Per Illustri, ac Nobili Viro D:{no} D:{no} / +Erasmo Philipps
+  Barronetto+ / _Artium zelantissimo Fautori, et de re litteraria /
+  optime merito, Tabulam hanc tenue debit[ae] venerationis / su[ae]
+  argumentum, emeritissimo Patrono, et Mec[ae]nati / commendat, et dicat
+  / J: B: Jack[s]on._"
+
+
+26.
+
+_The Virgin in the Clouds and Six Saints_, after Titian
+    [Le Bl. 14, N. 17]
+
+Dimensions:
+
+  23-1/4 x 14-3/4 inches.
+
+Blocks, 2:
+
+  Buff, black.
+
+Inscription, upper left and right:
+
+  "Ill{mo} atq; Excell:{mo} D:{no} D:{no} +Philippo Farsetti+ Nob. Ven.
+  / _Tabellam hanc a _Titiano Viccellio_ jam depictam in / gratissimi
+  animi, cultusq; perpetui testimonium, / Mec[ae]nati, ac Sospiti
+  munificentissimo / humiliat, et consecrat _J. B. Jack[s]on_._"
+
+Center of picture, on wall:
+
+  "+Titianus Faciebat+"
+
+Bottom center:
+
+  "_J. B. Jackson Del: sculp:&c. 1742._"
+
+Niccolo Boldrini's woodcut after Titian's drawing of the lower half of
+this subject (Le Bl. 12) evidently inspired Jackson to transcribe the
+entire painting as a pen-and-ink drawing in Titian's style, with a tint
+block added.
+
+
+27.
+
+_The Descent of the Holy Spirit_, after Titian    [Le Bl. 13, N. 1]
+
+Dimensions:
+
+  22-3/8 x 15-1/8 inches.
+
+Blocks, 4:
+
+  Buff, light gray-brown, light yellow-brown, dark brown.
+
+Inscription, upper left and right:
+
+  "_Perillu[s]tri, ac Nobili Viro D:{no} D:{no} +Jacobo Stewart
+  Mackinzie+, / Honorabili Magn[ae] Britan-ni[ae] Con[s]ilii
+  Con[s]cripto Patri / Opus hoc, quod ex_ Titi-ani Viccellii _Pictura, /
+  ex[s]cripsit, in humillimi ob[s]equii testi-/monium devo-vebat_ /
+  J. B. Jack[s]on."
+
+
+28.
+
+_The Finding of Moses_, after Veronese    [Le Bl. 2, N.14]
+
+Dimensions:
+
+  22 x 15 inches.
+
+Blocks, 4:
+
+  Buff, light brown, light violet-gray, dark gray.
+
+Inscription, lower right:
+
+  "_Ill{mo} et Excell{mo} +D: D: / Everardo Fawkener+ Eq Aur / pro Mag:
+  Brit: Rege ad Turc: Imper: / Legato. Elegant: Artium Moecena-/ti
+  Munificentis: in sui Obsequii. Ar-/gumentum humill: D: D: / J: B:
+  Jackson._"
+
+Lower left:
+
+  "_Ex Tabella / a =Paulo Calliari= Veron{s}. / depicta penes J: +Smith+
+  Ven / J: B: Jackson Del Sculp & excud / 1741._"
+
+
+29.
+
+_The Raising of Lazarus_, after Leandro Bassano    [Le Bl. 6, N. 7]
+
+Dimensions:
+
+  23-1/2 x 14-7/8 inches.
+
+Blocks, 4:
+
+  Buff, light reddish gray, gray, dark cold brown.
+
+Inscription, upper left and right:
+
+  "_Ill:{mo} D:{no} D:{no} +Vincentio Riccardi+, Marchioni / Florentino,
+  amplissimo Senatori, / am[oe]narum litterarum scientiarumq; excultori
+  / peramantissimo, Tabellam hanc a / +Leandro+ de +Ponte+ colori-/bus
+  expressam veluti exigu-/um obser-vanti[ae] su[ae] / specimen_ D. D. D.
+  / J B Jackson"
+
+Center bottom:
+
+  "_J: B: Jack[s]on Del. Sculp. &c. 1742._"
+
+
+30.
+
+_Christ on the Mount of Olives_, after Jacopo Bassano
+    [Le Bl. 8, N. 6]
+
+Dimensions:
+
+  22 x 15-1/8 inches.
+
+Blocks, 4:
+
+  Buff, medium brown, gray, dark brown.
+
+Inscription, bottom:
+
+  "Ill:{m[ae]} atq; Excell:{m[ae]} D:{n[ae]} D:{n[ae]} / _Paulin[ae]
+  Contaren[ae] / =Nob: Venet[ae]=, aviti sanguinis ingenti splendore
+  clar[ae], sed Virtutum nobilitate longe clariori, piissimum / hoc
+  Christian[ae] Fidei monumentum, exiguum obsequentissim[ae] servitutis
+  su[ae] signum, quod ex pictura / _Jacobi de Ponte_ delineavit, et
+  ex[s]culpsit, generossim[ae] Patron[ae], et Auspici dedicabat J: B:
+  Jackson._".
+
+1743.
+
+A trial proof of the key block is in the Rosenwald Collection, National
+Gallery of Art.
+
+
+31.
+
+_Melchisedech Blessing Abraham_, after Francesco Bassano
+    [Le Bl. 1, N. 19]
+
+Dimensions:
+
+  22-1/2 x 15-1/8 inches.
+
+Blocks, 4:
+
+  Buff, warm gray, brown, dark brown.
+
+Inscription, lower right:
+
+  "_Per-illustri D.{no} D.{no} / +Joanni Reade+ / Tabellam hanc
+  in ob[s]e-/quenti[s][s]im[ae] reverenti[ae] / specimen D. D. D. /
+  J. B. Jack[s]on / ex Tabella penes / D. Jos{h} Smith._"
+
+1743.
+
+
+32.
+
+_Dives and Lazarus_ (The Rich Man and Lazarus), after Jacopo Bassano
+
+Dimensions:
+
+  22 x 15 inches (left sheet), 22 x 15 inches (right sheet).
+
+Blocks, 4:
+
+  Buff, light brown, light brownish gray, dark brownish gray.
+
+Inscription, lower left of left plate:
+
+  "_Per-illustri, ac Honorabili Viro_ / D:{no} D:{no} +Roberto Hoblyn+,
+  / _Armigero, Magn[ae]q; Britan-/ni[ae] Consilii Conscripto Patri, /
+  Artium, Scientiarumq; Cultori, / et M[ae]cenati, sui ergo obsequii /
+  dicabat_ / J. B. Jack[s]on."
+
+Lower right of left plate:
+
+  "_Ab Exemplari, Jacobi de Ponte, quod Venetiis penes / D. Jo[s]eph
+  Smith extat, ex[s]crip[s]it qui dicabat. / J: Ba[s]an P{x}._"
+
+1743.
+
+
+33.
+
+_Algernon Sidney_, after Justus Verus    [Le Bl. 20]
+
+Dimensions:
+
+  13-3/8 x 8-3/4 inches with letters, 8-1/2 x 7-1/2 inches (oval
+  portrait only).
+
+Blocks, 4:
+
+  Tan, light brown, light gray, dark gray.
+
+Inscription, left and right under oval:
+
+  "_Zustus Verus, pinx: J: B: J: sculp; et exc:_"
+
+In rectangle at bottom:
+
+  "_At the Time when_ M{r}. +Algernon Sidney+ _was_ Amba[s][s]ador
+  _at that Court, Mon[s]ieur +Terlon+ the_ French _Amba[s][s]ador,
+  had the Confidence to tear out of the Book of_ Mottos
+  _in the King's Library, this Verse, which_ M{r}. Sidney
+  _(according to the Liberty allowed to all Noble Strangers)
+  had written in it:_/
+
+    "Manus haec inimica Tyrannis
+    En[s]e petit placidam sub Libertate quietem.
+
+  "_Though Mon[s]ieur_ Terlon _under[s]tood not a word of_
+  Latin, _he was told by others the meaning of that Sen-
+  tence, which he considered as a_ Libel _upon the_ French
+  _Government and upon [s]uch as was then setting up in_
+  Denmark _by_ French _A[s][s]istance_ or Example."
+
+  Pref: to _Acco{t}. of Denmark_ 4{th} _Edit:P:23._
+
+Another version with light red in place of light gray (Philadelphia,
+which also has set of progressive proofs).
+
+Smithsonian Institution (U.S. National Museum) Worcester, MFA, Fogg,
+Baltimore, MMA, NYPL, Philadelphia BM, Berlin-Dahlem, Brussels,
+Frankfurt, Hamburg
+
+
+34.
+
+_Antique Bust of Woman_
+
+Dimensions:
+
+  14-7/8 x 10-1/2 inches (irregular oval).
+
+Blocks, 4:
+
+  Yellow-gray, greenish brown, gray-brown, brown.
+
+  MFA
+
+
+35.
+
+_Lovers_ (facing right), perhaps after Piazzetta
+
+Dimensions:
+
+  15 x 10-1/2 inches.
+
+Blocks, 5:
+
+  Light brownish gray, darker brownish gray, medium brown, cold gray,
+  dark brown.
+
+Attributed to Jackson.
+
+  V&A
+
+
+36.
+
+_Lovers_ (woman full face), perhaps after Piazzetta
+
+Dimensions:
+
+  15 x 10-1/2 inches.
+
+Blocks, 5:
+
+  Light brownish gray, darker brownish gray, medium brown, cold gray,
+  dark brown.
+
+Companion piece to previous print. Attributed to Jackson.
+
+  V&A
+
+
+37.
+
+_Lamentation Over the Body of Christ_
+
+Dimensions:
+
+  20-1/2 x 13-1/4 inches.
+
+Blocks, 5 or 6:
+
+  Blue, brown, red, flesh, gray.
+
+Inscription, bottom:
+
+  "_Et tuam ip[s]ius animam pertran[s]ibit gladius,_"
+
+This is probably an experiment in color printing made by Jackson, after
+his own design, before attempting the Ricci set.
+
+  BM
+
+
+38.
+
+_Heroic Landscape With Dedication and Classical Ruins_,
+after Marco Ricci    [Le Bl. 21-25, N.20-25a]
+
+Dimensions:
+
+  16-3/8 x 23-1/8 inches.
+
+Blocks, 7 to 10:
+
+  Tones of blue, buff, gray-violet, green and dark gray.
+
+Inscription in tablet at lower left:
+
+  "_Ill{mo}, atq; Excell{mo} D{no} D{no}_ / +Roberto D'Arcy+, / Comiti
+  de Holderne[s][s]e _&c. &c. &c. / Apud Sereni[s]s Remp: Venetam pro
+  Mag: / Britan[.] Rege Legato Extraordinario. / Hoc novi[s][s]ime
+  excogitatum Opus in humillimi / obsequii te[s]timonium dedicabat_ /
+  J. B. Jack[s]on.".
+
+1744.
+
+A copy in the Museum of Fine Arts, Boston, has D'Arcy's coat-of-arms on
+the entablature of the arch to the right with red and blue notes. The
+British Museum has a copy with brownish-red touched in with water colors
+in the clothing of the men under the arch.
+
+Reichel reproduced this in full size and color (plate 98).
+
+  MFA, MMA, BM, Venice
+
+
+39.
+
+_Heroic Landscape With Sheep, Statues, and Gentlemen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25b]
+
+Dimensions:
+
+  16-3/4 x 23-1/8 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+Smithsonian Institution (U.S. National Museum)
+
+  MFA, BM, Venice
+
+
+40.
+
+_Heroic Landscape with Fisherman, Cows, and Horsemen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25c]
+
+Dimensions:
+
+  16-1/2 x 23 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, MMA, Worcester, BM, V&A, Berlin-Dahlem, Venice, Brussels
+
+
+41.
+
+_Heroic Landscape with Cart and Goatherd, with S. Giorgio Maggiore in
+Background_, after Marco Ricci    [Le Bl. 21-25, N. 20-25d]
+
+Dimensions:
+
+  16-1/2 x 23 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, BM, Venice, Dresden
+
+
+42.
+
+_Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen_,
+after Marco Ricci    [Le Bl. 21-25, N. 20-25e]
+
+Dimensions:
+
+  16-3/4 x 23-1/2 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+Reichel reproduced this in full size and color (plate 99).
+
+MMA, MFA, BM, Venice, Milan, Berlin-Dahlem
+
+
+43.
+
+_Heroic Landscape with Watering Place, Riders, and Obelisk_, after Marco
+Ricci
+
+Dimensions:
+
+  16-5/8 x 23-1/4 inches.
+
+Blocks, 7 to 10:
+
+  Colors vary in different impressions.
+
+1744.
+
+  MFA, MMA, BM, V&A, Venice
+
+
+44.
+
+_Battle near Parma_, after Francesco Simonini
+
+Dimensions:
+
+  20 x 40 inches (two joined sheets)
+
+Blocks, 7 or 8:
+
+  Buff, brown, light green, blue-green, light transparent red, deep red,
+  dark gray.
+
+1752.
+
+The only known copy is in the British Museum. Tone has darkened and
+paper is torn in parts. This print is described in the _Enquiry_.
+Jackson erroneously referred to this artist as "Simonnetta."
+
+  BM
+
+
+45.
+
+_Ornamental Border with Fruit; Flowers, and Purple Grapes_
+
+Dimensions:
+
+  6-1/4 x 25-7/8 inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, green.
+
+Print for wallpaper.
+
+  BM
+
+
+46.
+
+_Ornamental Border with Fruit, Flowers, and Green Grapes_
+
+Dimensions:
+
+  6-3/8 x 25-7/8 inches.
+
+Blocks, 4:
+
+  Red, blue, yellow and green.
+
+Print for wallpaper.
+
+  BM
+
+
+47.
+
+_Ornamental Frame with Flowers and Fruit_
+
+Dimensions:
+
+  24-3/4 x 18-1/2 inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, gray-green.
+
+Print for wallpaper.
+
+  BM
+
+
+48.
+
+_Ornamental Frame with Fruit_
+
+Dimensions:
+
+  25-1/8 x 17-1/4 inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, gray-green.
+
+Print for wallpaper.
+
+  BM
+
+
+49.
+
+_Ornamental Frame with Flowers and Girl's Head_
+
+Dimensions:
+
+  26 x 18-1/2 inches.
+
+Blocks, 4:
+
+  Red, blue, yellow, green.
+
+Print for wallpaper. Central figure is described under No. 59.
+
+  BM
+
+
+50.
+
+_Dancing Nymph with Bow and Arrows_
+
+Dimensions:
+
+  11-1/8 x 6-3/8 inches.
+
+Blocks, 2:
+
+  Olive green, black.
+
+Print for wallpaper. Probably cut by Jackson as a guide for his
+workshop. See Nos. 59-74.
+
+Smithsonian Institution (U.S. National Museum)
+
+
+51.
+
+_Bust of Democritus_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches (sheet size).
+
+Blocks, 4:
+
+  Buff, light gray, medium gray, dark gray.
+
+Plate from Jackson, _An Essay on the Invention of Engraving and Printing
+in Chiaro Oscuro_, 1754.
+
+
+52.
+
+_The Lion_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 6:
+
+  Yellow, red, light green, blue-gray, light gray, dark gray-green.
+
+Plate from Jackson, _Essay_..., 1754. This subject was copied from plate
+34 of Giorgio Fossati, _Raccolta di varie favole_, Venice, 1744.
+
+
+53.
+
+_Building and Vegetable_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 6:
+
+  Yellow, light green, light red, crimson, light gray, dark gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+54.
+
+_Statue of Apollo_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 4:
+
+  Light buff, medium buff, gray, and dark gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+55.
+
+_The Farnese Hercules_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 4:
+
+  Buff, greenish buff, gray, dark greenish gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+56.
+
+_Antique Bust of a Man_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 4:
+
+  Buff, gray-brown, gray, dark greenish gray.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+57.
+
+_Pheasant and Garden Urn_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 7:
+
+  Yellow, light green, warm gray, blue-gray, light red, crimson, dark
+  gray-green.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+58.
+
+_Ruin of Garden Temple_
+
+Dimensions:
+
+  9-1/4 x 7-1/2 inches.
+
+Blocks, 7:
+
+  Yellow, light green, warm gray, cold gray, light red, crimson, dark
+  gray-green.
+
+Plate from Jackson, _Essay_..., 1754.
+
+
+_Jackson's Workshop_
+
+
+59.
+
+_Woman Standing Holding Apron_, after S. Le Clerc
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches (sheet size).
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. This figure appears in the center of the ornamental
+frame, No. 49 in this catalog, in the British Museum impression. After a
+plate in the series of etchings by Sebastien Le Clerc, _Les Figures a la
+mode_, 1685. The figure is reversed.
+
+  BM
+
+
+60.
+
+_Female Statue with Fruit and Wheat_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+61.
+
+_Female Statue with Mask_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+62.
+
+_Queen with Armor and Model of Building_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. In the style of Villamena.
+
+  Philadelphia
+
+
+63.
+
+_Apollo with Lyre_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Green and black. Also deep red and yellow.
+
+Print for wallpaper.
+
+  Smithsonian Institution (U.S. National Museum)
+  Philadelphia
+
+
+64.
+
+_Woman with Shepherd's Pipe_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+65.
+
+_Woman with Sheet of Music and Horn_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+66.
+
+_Woman with Pitcher and Apron_, after S. Le Clerc
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sebastien Le Clerc, _Les Figures a la mode_, 1685. The figure is
+reversed.
+
+  Philadelphia
+
+
+67.
+
+_Old Woman Standing_, after S. Le Clerc
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sebastien Le Clerc, _Les Figures a la mode_, 1685. The figure is
+reversed.
+
+  Philadelphia
+
+
+68.
+
+_Lady with Staff_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia
+
+
+69.
+
+_Woman with Fruit and Basket_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+70.
+
+_Woman with Branches and Incense Burner_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and pale green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+71.
+
+_Woman with Flowers and Vines_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Red and green. Also red and yellow.
+
+Print for wallpaper. In the style of Villamena.
+
+  BM
+
+
+72.
+
+_Standing Woman, Head Turned to Right_, after Watteau
+
+Dimensions:
+
+  11 x 5 inches.
+
+Blocks, 2:
+
+  Green and black.
+
+Print for wallpaper. After Boucher's etching after a drawing by Watteau
+(plate 216 in Jean de Julienne's compilation of Watteau's work, _Figures
+de differents caracteres_, ca. 1740).
+
+  MMA, Philadelphia, BM
+
+
+73.
+
+_Lady with Fan_, after S. Le Clerc
+
+Dimensions:
+
+  11 x 4-1/2 inches.
+
+Blocks, 2:
+
+  Green and black.
+
+Print for wallpaper. After a plate in the series of 24 etchings by
+Sebastien Le Clerc, _Les Figures a la mode_, 1685. The figure is
+reversed and the fan has been shifted to the upper hand.
+
+  MMA
+
+
+74.
+
+_Classical Female Statue_
+
+Dimensions:
+
+  11-1/4 x 6-1/2 inches.
+
+Blocks, 2:
+
+  Deep red and yellow.
+
+Print for wallpaper.
+
+  Philadelphia, MMA
+
+
+75.
+
+_Boy Looking Down_
+
+Dimensions:
+
+  3 x 2 inches.
+
+Blocks, 2:
+
+  Light brown and black.
+
+Perhaps after Piazzetta.
+
+  MFA, BM
+
+
+76.
+
+_Lady with a Flower_
+
+Dimensions:
+
+  14-3/8 x 11-1/4 inches.
+
+Blocks, 3:
+
+  Buff, light brown, brown.
+
+Possibly after Kneller. Very weak and crude.
+
+  BM, V&A
+
+
+_Unverified Subjects_
+
+
+77.
+
+_The Annunciation_, after Parmigianino
+
+Dimensions:
+
+  6-3/4 x 4-5/8 inches.
+
+Blocks, 3:
+
+  Tones of brown.
+
+This is listed as Jackson's in Gutekunst & Klipstein's catalogue 40,
+1938. It is described as having "the initials and an engraved letter
+border," but whether the initials are Jackson's or Parmigianino's is
+uncertain.
+
+
+78.
+
+_St. Peter and St. Paul Surprised by the Executioner_, after Titian
+    [Le Bl. 17, N. 16]
+
+Le Blanc and Nagler list this print in addition to _St. Peter Martyr_,
+but most likely it is the same subject. The title might have been taken
+from a museum catalogue which listed the identical print under a
+different title.
+
+
+79.
+
+_The Entombment_, after Titian    [Le Bl. 11]
+
+This is included in Le Blanc (_J. C. mis au tombeau_) but it seems
+likely that it was confused with Bassano's identically titled subject.
+
+
+80.
+
+_Giovanni Gastro I De Medici_
+
+This is listed as a Jackson print in Berlin-Dahlem but has not been
+located.
+
+
+81.
+
+_Elisabeth, Duchess of Hamilton, as a Shepherdess_
+
+This is catalogued as a Jackson print in the Dresden Kunstsammlungen but
+was lost in the war.
+
+
+
+
+The _Chiaroscuros_ and _Color Woodcuts_ of John Baptist Jackson
+
+
+    [Illustration:
+    1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael
+    (See also color plate)]
+
+    [Illustration:
+    2. VENUS AND CUPID WITH A BOW, after Parmigianino
+    (See also color plate)]
+
+    [Illustration:
+    3. WOMAN STANDING HOLDING JAR ON HER HEAD, after Parmigianino]
+
+    [Illustration:
+    5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino
+    (See also color plate)]
+
+    [Illustration:
+    7. BOOKPLATE]
+
+    [Illustration:
+    6. ULYSSES AND POLYPHEMUS, after Primaticcio]
+
+    [Illustration:
+    8. JUDGMENT OF SOLOMON, after Rubens]
+
+    [Illustration:
+    9. THE VISITATION, after Annibale Carracci]
+
+    [Illustration:
+    10. JULIUS CAESAR, after Titian]
+
+    [Illustration:
+    11. ST. ROCCO, after Cherubino Alberti]
+
+    [Illustration:
+    12. STATUETTE OF NEPTUNE, after Giovanni da Bologna]
+
+    [Illustration:
+    14. CHRIST AND THE WOMAN OF SAMARIA]
+
+    [Illustration:
+    15. ROMULUS AND REMUS, WOLF, AND SEA GOD]
+
+    [Illustration:
+    13. DESCENT FROM THE CROSS, after Rembrandt (See also color plate)]
+
+    [Illustration:
+    16. THE DEATH OF ST. PETER MARTYR, after Titian]
+
+    [Illustration:
+    17. THE PRESENTATION IN THE TEMPLE (THE CIRCUMCISION),
+    after Veronese]
+
+    [Illustration:
+    18. THE MASSACRE OF THE INNOCENTS, after Tintoretto]
+
+    [Illustration:
+    22. THE CRUCIFIXION, AFTER TINTORETTO, left sheet
+    (See also color plates)]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, center sheet
+    (See also color plates)]
+
+    [Illustration:
+    22. THE CRUCIFIXION, after Tintoretto, right sheet
+    (See also color plates)]
+
+    [Illustration:
+    19. THE ENTOMBMENT, after Jacopo Bassano]
+
+    [Illustration:
+    20. HOLY FAMILY AND FOUR SAINTS, after Veronese]
+
+    [Illustration:
+    21. THE MYSTIC MARRIAGE OF ST. CATHERINE, after Veronese]
+
+    [Illustration:
+    26. THE VIRGIN IN THE CLOUDS AND SIX SAINTS, after Titian]
+
+    [Illustration:
+    23. MIRACLE OF ST. MARK, after Tintoretto, left sheet]
+
+    [Illustration:
+    23. MIRACLE OF ST. MARK, after Tintoretto, right sheet]
+
+    [Illustration:
+    24. THE MARRIAGE AT CANA, after Veronese, left sheet]
+
+    [Illustration:
+    24. THE MARRIAGE AT CANA, after Veronese, right sheet]
+
+  [Transcriber's Note:
+  The left and right halves of Plate 24 appear to be mislabeled in the
+  original. See the html file for combined version.]
+
+    [Illustration:
+    27. THE DESCENT OF THE HOLY SPIRIT, after Titian]
+
+    [Illustration:
+    28. THE FINDING OF MOSES, after Veronese]
+
+    [Illustration:
+    29. THE RAISING OF LAZARUS, after Leandro Bassano]
+
+    [Illustration:
+    31. MELCHISEDECH BLESSING ABRAHAM, after Francesco Bassano]
+
+    [Illustration:
+    32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
+    after Jacopo Bassano, left sheet]
+
+    [Illustration:
+    32. DIVES AND LAZARUS (THE RICH MAN AND LAZARUS),
+    after Jacopo Bassano, right sheet]
+
+    [Illustration:
+    30. CHRIST ON THE MOUNT OF OLIVES, after Jacopo Bassano]
+
+    [Illustration:
+    37. LAMENTATION OVER THE BODY OF CHRIST]
+
+    [Illustration:
+    33. ALGERNON SIDNEY, after Justus Verus]
+
+    [Illustration:
+    34. ANTIQUE BUST OF WOMAN]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    left sheet]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    center sheet]
+
+    [Illustration:
+    25. PRESENTATION OF THE VIRGIN IN THE TEMPLE, after Titian,
+    right sheet]
+
+    [Illustration:
+    35. LOVERS (facing right), perhaps after Piazzetta]
+
+    [Illustration:
+    36. LOVERS (woman full face), perhaps after Piazzetta]
+
+    [Illustration:
+    38. HEROIC LANDSCAPE WITH DEDICATION AND CLASSICAL RUINS,
+    after Marco Ricci]
+
+    [Illustration:
+    39. HEROIC LANDSCAPE WITH SHEEP, STATUES, AND GENTLEMEN,
+    after Marco Ricci]
+
+    [Illustration:
+    40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
+    after Marco Ricci (See also color plates)]
+
+    [Illustration:
+    41. HEROIC LANDSCAPE WITH CART AND GOATHERD, AND WITH
+    S. GIORGIO MAGGIORE IN BACKGROUND, after Marco Ricci]
+
+    [Illustration:
+    42. HEROIC LANDSCAPE WITH WOMEN AT BROOK, CHILD FISHING
+    AND HERDSMEN, after Marco Ricci]
+
+    [Illustration:
+    43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS AND OBELISK,
+    after Marco Ricci (See also color plate)]
+
+    [Illustration:
+    44. BATTLE NEAR PARMA, after Francesco Simonini]
+
+    [Illustration:
+    44. BATTLE NEAR PARMA, after Francesco Simonini, detail]
+
+    [Illustration:
+    45. ORNAMENTAL BORDER WITH FRUIT, FLOWERS AND PURPLE GRAPES]
+
+    [Illustration:
+    46. ORNAMENTAL BORDER WITH FRUIT, FLOWERS, AND GREEN GRAPES]
+
+    [Illustration:
+    47. ORNAMENTAL FRAME WITH FLOWERS AND FRUIT]
+
+    [Illustration:
+    48. ORNAMENTAL FRAME WITH FRUIT]
+
+    [Illustration:
+    49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL'S HEAD
+    (See also color plate)]
+
+    [Illustration:
+    59. WOMAN STANDING HOLDING APRON, after S. Le Clerc]
+
+    [Illustration:
+    50. DANCING NYMPH WITH BOW AND ARROWS]
+
+    [Illustration:
+    51. BUST OF DEMOCRITUS]
+
+    [Illustration:
+    52. THE LION]
+
+    [Illustration:
+    53. BUILDING AND VEGETABLE (See also color plate)]
+
+    [Illustration:
+    54. STATUE OF APOLLO]
+
+    [Illustration:
+    55. THE FARNESE HERCULES]
+
+    [Illustration:
+    56. ANTIQUE BUST OF A MAN]
+
+    [Illustration:
+    57. PHEASANT AND GARDEN URN]
+
+    [Illustration:
+    58. RUIN OF GARDEN TEMPLE]
+
+    [Illustration:
+    60. FEMALE STATUE WITH FRUIT AND WHEAT]
+
+    [Illustration:
+    61. FEMALE STATUE WITH MASK]
+
+    [Illustration:
+    62. QUEEN WITH ARMOR AND MODEL OF BUILDING]
+
+    [Illustration:
+    63. APOLLO WITH LYRE]
+
+    [Illustration:
+    64. WOMAN WITH SHEPHERD'S PIPE]
+
+    [Illustration:
+    65. WOMAN WITH SHEET OF MUSIC AND HORN]
+
+    [Illustration:
+    66. WOMAN WITH PITCHER AND APRON, after S. Le Clerc]
+
+    [Illustration:
+    67. OLD WOMAN STANDING, after S. Le Clerc]
+
+    [Illustration:
+    68. LADY WITH STAFF]
+
+    [Illustration:
+    69. WOMAN WITH FRUIT AND BASKET]
+
+    [Illustration:
+    70. WOMAN WITH BRANCHES AND INCENSE BURNER]
+
+    [Illustration:
+    71. WOMAN WITH FLOWERS AND VINES]
+
+    [Illustration:
+    72. STANDING WOMAN, HEAD TURNED TO RIGHT, after Watteau]
+
+    [Illustration:
+    73. LADY WITH FAN, after S. Le Clerc]
+
+    [Illustration:
+    74. CLASSICAL FEMALE STATUE]
+
+    [Illustration:
+    76. LADY WITH A FLOWER]
+
+    [Illustration:
+    75. BOY LOOKING DOWN]
+
+
+
+
+BIBLIOGRAPHY
+
+
+ANONYMOUS. _An Enquiry into the Origins of Printing in Europe, by a
+Lover of Art._ London, 1752.
+
+  A rewrite of Jackson's manuscript journal, with some sections quoted
+  verbatim. The artist's career from about 1725 to 1752 is described.
+  The most important biographical source and a rare book.
+
+AUDIN, M. _Essai sur les graveurs de bois en France au dix-huitieme
+siecle._ Paris, 1925, pp. 99-102.
+
+  Contains a section listing many books illustrated by Jackson in
+  Paris, mostly in later editions.
+
+BAVEREL, P. _Notices sur les graveurs_, Besancon, 1807, vol. 1, pp.
+341-342.
+
+BENEZIT, E. _Dictionnaire des peintres, sculpteurs, dessinateurs, &
+graveurs._ Paris, 1924 (1st ed. 1913), vol. 2, p. 693.
+
+BEWICK, THOMAS. _Memoir of Thomas Bewick, Written by Himself_,
+1822-1828. New York, 1925 (1st ed., 1862), pp. 213-214.
+
+  Mentions meeting Jackson in advanced age, about 1777. The book
+  contains much personal reminiscence and observation on life but
+  little concrete detail for the student.
+
+BIGMORE, E. C. and WYMAN, C. W. H. _A Bibliography of Printing._ London,
+1880-1886, vol. 1, pp. 201, 365.
+
+  The most extensive annotated listing of books relating to printing.
+  Has a description of Jackson's _Essay_.
+
+BRULLIOT, F. _Dictionnaire des monogrammes._ Munich, 1832-1834, vol. 2,
+Nos. 1288, 1352, 1535.
+
+BRYAN, M. _Dictionary of Painters and Engravers._ London and New York,
+1904 (1st ed. 1816), vol. 3, p. 99.
+
+  The most comprehensive biographical dictionary of artists in the
+  English language.
+
+BURCH, R. M. _Colour Printing and Colour Printers._ London, 1910, pp.
+72-77.
+
+  The most comprehensive general survey, but with more than occasional
+  inaccuracies. There is a lack of sensitivity in art matters. These
+  comments apply also to the section on Jackson.
+
+CHATTO, W., and JACKSON, J. _A Treatise on Wood-Engraving._ London, 1861
+(1st. ed. 1839), pp. 453-457.
+
+  The classic work on the subject; scholarly, objective, and
+  voluminously illustrated. Has the fullest early account of Jackson
+  and is the basis for most later studies of the artist.
+
+CUST, L. "John Baptist Jackson," _Dictionary of National Biography._ New
+York and London, 1885-1900, vol. 29, p. 100.
+
+DE BONI, F. _Biografia degli artisti._ Venice, 1840, p. 499.
+
+DONNELL, EDNA. "The Van Rensselaer Wall Paper and J. B. Jackson-- A
+Study in Disassociation." _Metropolitan Museum Studies_, 1932, vol. 4,
+pp. 77-108.
+
+  The most scholarly study of Jackson's wallpaper career. Shows, by an
+  examination of styles, that Jackson could not have made the
+  wallpapers indiscriminately attributed to him.
+
+DUPLESSIS, G. Histoire de la gravure. Paris, 1880, pp. 314-315.
+
+ENTWISLE, E. A. _The Book of Wallpaper._ London, 1954, pp. 65-67, 76.
+
+  Contains new information on wallpaper manufacturers in London during
+  the 18th century, some of it bearing on Jackson.
+
+FRANKAU, J. _Eighteenth-Century Colour-Prints._ London, 1907, pp. 42-46.
+
+  Has an appreciative section on Jackson, highly romanticized.
+
+FRIEDLAENDER, M. J. _Der Holzschnitt: Handbuecher der Staatlichen Museen
+zu Berlin._ Berlin and Leipzig, 1926 (1st ed. 1917), pp. 224-226.
+
+FUESSLI, J. C. _Raisonirendes Verzeichniss der vornehmsten
+Kupferstecher._ Zurich, 1771, pp. 353-354.
+
+FURST, H. _The Modern Woodcut._ New York, 1924, pp. 88, 99.
+
+  A fine general survey, although judgments are occasionally dogmatic.
+
+GALLO, R. _L'Incisioni nel '700 a Venezia e a Bassano._ Venice, 1941,
+pp. 22-23.
+
+  A solid study containing some new material on the artists of the
+  period.
+
+GORI GANDELLINI, G. _Notizie Istoriche degl' Intagliatori._ Siena, 1771,
+vol. 2, p. 156.
+
+GUSMAN, P. _La Gravure sur bois et d'epargne sur metal du XIVe au XXe
+siecle._ Paris, 1916, pp. 32, 164-165, 193, 252.
+
+HARDIE, MARTIN. _English Coloured Books._ New York and London, 1906, pp.
+19-27.
+
+  While a brief but sensitive account of Jackson is given, the main
+  emphasis is on the _Essay_ as an illustrated book.
+
+HEINECKEN, C. H. VON. _Idee generale d'une collection complette
+d'estampes._ Leipzig and Vienna, 1771, p. 94.
+
+HELLER, J. _Geschichte der Holzschneidekunst._ Bamberg, 1823, pp.
+295-296. _Praktisches Handbuch fuer Kupferstichsammler._ Leipzig, 1850,
+p. 334.
+
+  Lists 10 chiaroscuros by Jackson.
+
+HELLER, J., and ANDRESEN, A. _Handbuch fuer Kupferstichsammler._
+Leipzig, 1870, vol. 1, pp. 706-707.
+
+  Lists 11 prints by Jackson.
+
+HUBER, M. _Notices generales des graveurs et des peintres._ Dresden,
+1787, pp. 676, 698.
+
+HUBER, M., and ROST, C. C. _Handbuch fuer Kunstliebhaber und Sammler._
+Zurich, 1808, vol. 9, pp. 129-131.
+
+HUBER, M., ROST, C. C., and MARTINI, C. G. _Manuel des curieux et des
+amateurs d'art._ Zurich, 1797-1808, vol. 9, pp. 121-123.
+
+  First catalog of Jackson's work; lists 10 titles.
+
+JACKSON, JOHN BAPTIST. _An Essay on the Invention of Engraving and
+Printing in Chiaro Oscuro, as Practised by Albert Durer, Hugo di Carpi,
+&c., and the Application of It to the Making Paper Hangings of Taste,
+Duration, and Elegance._ London, 1754.
+
+  Written by Jackson to promote his wallpapers, it repeats some of his
+  assertions in the _Enquiry_ but gives little detail concerning his
+  career. It is important as an illustrated book and as an early
+  document in the history of wallpaper. The prints have suffered from
+  the use of an inferior oil vehicle.
+
+KAINEN, JACOB. "John Baptist Jackson and his Chiaroscuros." _Printing
+and Graphic Arts_, vol. 4, no. 4, 1956, pp. 85-92.
+
+  An excerpt from the present work, then in progress, in a different
+  version.
+
+KREPLIN, B. C. "John Baptist Jackson," in Thieme, U., and Becker, F.,
+_Allgemeines Lexikon der Bildenden Kuenstler._ Leipzig, 1907-1950, vol.
+18, pp. 224-225.
+
+  The most comprehensive biographical dictionary of artists. Has a
+  good article on Jackson and a small bibliography.
+
+LE BLANC, C. _Manuel de l'amateur d'estampes._ Paris, 1854-1888, vol. 2,
+p. 416.
+
+  Particularly valuable for its catalogs of the work of engravers.
+  With Nagler, contains the largest listing of Jackson's prints.
+
+LEVIS, H. C. _A Descriptive Bibliography of Books in English Relating to
+Engraving and the Collection of Prints._ London, 1912, pp. 182-184.
+
+LEWIS, C. T. C. _The Story of Picture Printing in England During the
+19th Century; or Forty Years of Wood and Stone._ London, 1928, pp. 2,
+21, 26, 34, 40, 43, 195.
+
+  Written in an oppressively popular style with emphasis on Baxter and
+  Le Blond. Jackson is mentioned often but sketchily as the distant
+  ancestor of "picture printing."
+
+LINTON, W. _The Masters of Wood Engraving._ London, 1889, p. 214.
+
+  Discusses the subject from the standpoint of a late-19th-century
+  technician. Nevertheless is open-minded, if slightly superior, about
+  the chiaroscuro woodcut.
+
+LONGHI, G. _Catalogo dei piu celebri intagliatori in legno ed in rame._
+Milan, 1821, p. 51.
+
+MABERLY, J. _The Print Collector._ London, 1844, p. 130.
+
+  The first American edition, New York, 1880, edited by Robert Hoe,
+  copies the annotated description of the _Essay_ from Bigmore and
+  Wyman.
+
+MCCLELLAND, N. _Historic Wall-Papers._ Philadelphia and London, 1924,
+pp. 47, 79, 141-154, 165, 324-329, 423.
+
+  Makes many references to Jackson, largely inaccurate.
+
+MIREUR, H. _Dictionnaire des ventes d'art fait en France._ Paris,
+1911-1912, vol. 4, p. 23.
+
+MUELLER, F., and KLUNZINGER, K. _Die Kuenstler Aller Zeiten und
+Voelker._ 1857-1864, vol. 2, p. 430.
+
+MUELLER, H. A., MUELLER, H. W., and SINGER, H. W. _Allgemeines
+Kuenstler-Lexicon._ Frankfurt, 1895-1901, vol. 2, p. 240.
+
+NAGLER, G. K. _Allgemeines Kuenstler-Lexicon._ Munich. 1835-51, vol. 6,
+pp. 383-384.
+
+  The most extensive of all dictionaries of artists up to the time of
+  Thieme and Becker, _q.v._ With Le Blanc, has the fullest catalog of
+  Jackson's prints.
+
+_Die Monogrammisten_, Munich, 1858-1879, vol. 3, pp. 730, 836.
+
+OMAN, C. C. _Catalogue of Wall-Papers._ London, Victoria and Albert
+Museum, 1929, pp. 24-25, 33.
+
+  A good historical account which includes Jackson's contributions to
+  the rise of scenic wallpaper.
+
+PALLUCCHINI, RODOLFO. _Mostra degli incisori Veneti del settecento._
+Venice, 1941, ed. 2, pp. 16, 103-104.
+
+  Catalog of the exhibition held in Venice in 1941.
+
+PAPILLON, J. M. _Traite historique et pratique de la gravure en bois._
+Paris, 1766, vol. 1, pp. 323-324, 327-329, 415.
+
+  Contains personal recollections of Jackson and his career in France.
+  The book is valuable as the first technical treatise on the woodcut,
+  but the historical section is notoriously inaccurate and heavily
+  weighted with Papillon's prejudices.
+
+PERCIVAL, MACIVER. "Jackson of Battersea and his Wall Papers." _The
+Connoisseur_, 1922, vol. 62, pp. 25-36.
+
+REDGRAVE, S. _Dictionary of Artists of the English School._ London,
+1874, p. 227.
+
+REICHEL, ANTON. _Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII.
+Jahrhunderts._ Zurich, Leipzig, and Vienna, 1926, p. 48.
+
+  The finest work on chiaroscuro, with 100 magnificent facsimile
+  illustrations in color, fully described, and black-and-white
+  illustrations in the text. Reproduces two of Jackson's Ricci prints
+  in actual size and color.
+
+SAVAGE, W. _Practical Hints on Decorative Printing._ London, 1822, pp.
+15-16.
+
+  Savage was the first writer to acknowledge Jackson's contributions
+  to color printing, although he was critical of his inks. The book
+  attempts to show, through examples, that color printing from
+  woodblocks is practical for a variety of purposes.
+
+SMITH, J. _The Printers Grammar._ London, 1755, p. 136.
+
+SPOONER, S. _Dictionary of Painters, Engravers, Sculptors & Architects._
+New York, 1853, vol. 1, pp. 420-421.
+
+STRUTT, J. _Dictionary of Engravers._ London, 1785-86, vol. 2, p. 41.
+
+SUGDEN, A. V., and EDMONDSON, J. L. _A History of English Wallpaper._
+New York and London, 1925, pp. 61-71.
+
+  The most thorough book on the subject although the treatment of
+  Jackson is narrowly confined, like most wallpaper books, to his
+  shortcomings as a decorator for elegant homes.
+
+WALPOLE, HORACE. _Anecdotes of Painting in England. A Catalogue of
+Engravers who Have Been Born, or Resided in England. Digested from the
+Manuscript of George Vertue._ London, 1765 (1st ed. 1762), p. 3.
+
+  Important as the first compilation on this subject.
+
+_The Letters of Horace Walpole._ Edited by Mrs. Paget Toynbee, Oxford,
+1903-05, vol. 3, p. 166.
+
+WEIGEL, R. _Kunstlagercatalog._ Leipzig, 1837-1866, vol. 2, pp. 103,
+105; vol. 4, p. 52.
+
+WICK, PETER A. _Suite of Six Color Woodcuts of Heroic Landscapes by John
+Baptist Jackson after Marco Ricci._ 1955, 12 pp.
+
+  Manuscript read at the XVIII Congres International d'Histoire de
+  L'Art, Venice, Sept. 12-18, 1955. The first good, scholarly study of
+  the Ricci prints. Traces Jackson's career briefly but accurately.
+
+Y. D. Historical Remarks on Cutting in Wood. _The Gentleman's Magazine_,
+February 1752, vol. 22, pp. 78-79.
+
+  The first published statement of Jackson's contribution as a
+  woodcutter.
+
+ZANETTI, A. M. _Della pittura veneziana._ Venice, 1792. (1st ed. 1771),
+vol. 2, pp. 689, 716. Zanetti was the librarian of St. Mark's and the
+nephew of the famous chiaroscurist.
+
+ZANI, D. P. _Enciclopedia metodica delle belle arti._ Parma, 1817-24,
+vol. 11, p. 47.
+
+ZANOTTO, F. _Nuovissimo guida di Venezia._ Venice, 1856, p. 320, note 3.
+
+
+
+
+INDEX TO PLATES
+
+
+  1. _Christ Giving the Keys to St. Peter_, after Raphael,
+        55 (color), 99
+  2. _Venus and Cupid with a Bow_, after Parmigianino, 56 (color), 100
+  3. _Woman Standing Holding Jar on Her Head_, after Parmigianino, 101
+  5. _Woman Meditating_ (_St. Thais?_), after Parmigianino,
+        57 (color), 102
+  6. _Ulysses and Polyphemus_, after Primaticcio, 104
+  7. _Bookplate_, 103
+  8. _Judgment of Solomon_, after Rubens, 105
+  9. _The Visitation_, after Annibale Carracci, 106
+  10. _Julius Caesar_, after Titian, 107
+  11. _St. Rocco_, after Cherubino Alberti, 108
+  12. _Statuette of Neptune_, after Giovanni da Bologna, 109
+  13. _Descent from the Cross_, after Rembrandt, 58 (color), 112
+  14. _Christ and the Woman of Samaria_, 110
+  15. _Romulus and Remus, Wolf and Sea God_, 111
+  16. _The Death of St. Peter Martyr_, after Titian, 113
+  17. _The Presentation in the Temple_ (The Circumcision),
+        after Veronese, 114
+  18. _The Massacre of the Innocents_, after Tintoretto, 115
+  19. _The Entombment_, after Jacopo Bassano, 118
+  20. _Holy Family and Four Saints_, after Veronese, 119
+  21. _The Mystic Marriage of St. Catherine_, after Veronese, 120
+  22. _The Crucifixion_, after Tintoretto,
+      left sheet, 64 (color), 116
+      center sheet, 37 (proof of key block), 64 (color), 116
+      right sheet, 65 (color), 117
+  23. _Miracle of St. Mark_, after Tintoretto,
+      left sheet, 122
+      right sheet, 123
+  24. _The Marriage at Cana_, after Veronese,
+      left sheet, 124
+      right sheet, 125
+  25. _Presentation of the Virgin in the Temple_, after Titian,
+      left sheet, 136
+      center sheet, 136
+      right sheet, 137
+  26. _The Virgin in the Clouds and Six Saints_, after Titian, 121
+  27. _The Descent of the Holy Spirit_, after Titian, 126
+  28. _The Finding of Moses_, after Veronese, 127
+  29. _The Raising of Lazarus_, after Leandro Bassano, 128
+  30. _Christ on the Mount of Olives_, after Jacopo Bassano,
+        38 (key block), 132
+  31. _Melchisedech Blessing Abraham_, after Francesco Bassano, 129
+  32. _Dives and Lazarus_ (The Rich Man and Lazarus),
+        after Jacopo Bassano,
+      left sheet, 130
+      right sheet, 131
+  33. _Algernon Sidney_, after Justus Verus, 134
+  34. _Antique Bust of Woman_, 135
+  35. _Lovers_ (facing right), perhaps after Piazzetta, 138
+  36. _Lovers_ (woman full face), perhaps after Piazzetta, 139
+  37. _Lamentation Over the Body of Christ_, 133
+  38. _Heroic Landscape With Dedication and Classical Ruins_,
+        after Marco Ricci, 140
+  39. _Heroic Landscape With Sheep, Statues, and Gentlemen_,
+        after Marco Ricci, 141
+  40. _Heroic Landscape With Fisherman, Cows, and Horsemen_,
+        after Marco Ricci, 40 (color), 41 (color, detail), 142
+  41. _Heroic Landscape with Cart and Goatherd, with
+        S. Giorgio Maggiore in Background_, after Marco Ricci, 143
+  42. _Heroic Landscape with Women at Brook, Child Fishing,
+        and Herdsmen_, after Marco Ricci, 144
+  43. _Heroic Landscape with Watering Place, Riders, and Obelisk_,
+        after Marco Ricci, 59 (color), 145
+  44. _Battle near Parma_, after Francesco Simonini, 146, 147 (detail)
+  45. _Ornamental Border with Fruit, Flowers, and Purple Grapes_, 148
+  46. _Ornamental Border with Fruit, Flowers, and Green Grapes_, 148
+  47. _Ornamental Frame with Flowers and Fruit_, 149
+  48. _Ornamental Frame with Fruit_, 150
+  49. _Ornamental Frame with Flowers and Girl's Head_,
+        62 (color), 151
+  50. _Dancing Nymph with Bow and Arrows_, 152
+  51. _Bust of Democritus_, 153
+  52. _The Lion_, 154
+  53. _Building and Vegetable_, 63 (color), 155
+  54. _Statue of Apollo_, 156
+  55. _The Farnese Hercules_, 157
+  56. _Antique Bust of a Man_, 158
+  57. _Pheasant and Garden Urn_, 159
+  58. _Ruin of Garden Temple_, 160
+  59. _Woman Standing Holding Apron_, after S. Le Clerc,
+        62 (color), 151
+  60. _Female Statue with Fruit and Wheat_, 161
+  61. _Female Statue with Mask_, 161
+  62. _Queen with Armor and Model of Building_, 162
+  63. _Apollo with Lyre_, 162
+  64. _Woman with Shepherd's Pipe_, 163
+  65. _Woman with Sheet of Music and Horn_, 163
+  66. _Woman with Pitcher and Apron_, after S. Le Clerc, 164
+  67. _Old Woman Standing_, after S. Le Clerc, 164
+  68. _Lady with Staff_, 165
+  69. _Woman with Fruit and Basket_, 165
+  70. _Woman with Branches and Incense Burner_, 166
+  71. _Woman with Flowers and Vines_, 166
+  72. _Standing Woman, Head Turned to Right_, after Watteau, 167
+  73. _Lady with Fan_, after S. Le Clerc, 167
+  74. _Classical Female Statue_, 168
+  75. _Boy Looking Down_, 170
+  76. _Lady with a Flower_, 169
+
+
+
+_INDEX_
+
+
+  Alberti, Cherubino, 30
+  Albrizzi, G. B., 26, 28, 29
+  Altdorfer, Albrecht, 36n
+  Andreani, Andrea, 10, 11, 12n, 31, 45
+  Annison, M., 22
+
+  Baglioni, 27, 29
+  Baldung, Hans, 10
+  Bartolozzi, Francesco, 4
+  Bassano, Jacopo, 32
+  Baxter, George, 67
+  Beccafumi, Domenico, 10
+  Berghem, Nicolaes, 45
+  Bewick, Thomas, 5, 9n, 16, 17, 28, 35, 49, 50
+  _Bibbia del Nicolosi_, 26
+  _Biblia Sacra_ (published by Hertz), 28
+  Bloemart, Abraham, 22
+    Cornelius, 22
+    Frederick, 22
+  Boldrini, Niccolo, 11
+  Bologna, Giovanni da, 31
+  _Book of St. Albans_, 7
+  Brand, Thomas, 48
+  Bromwich, Thomas, 42
+  Burgkmair, Hans, 10
+  Businck, Ludolph, 11, 28, 45
+
+  Cabinet Crozart, 22, 23
+  Callot, Jacques, 4, 18, 30
+  Campagnola, Domenico, 44
+  Canaletto, 45
+  Carpi, Ugo da, 10, 11, 25, 26, 41, 44, 45, 51, 52
+  Carracci, Agostino, 32n
+  Caslon, William, 16
+  Caylus, Anne Claude Phillipe, Count de, 22, 23, 28
+  Chinese woodcuts, 36, 68
+  Coriolano, Bartolomeo, 11, 45
+    Giovanni Battista, 11
+  Coypel, Charles, 28
+  Cranach, Lucas, 9
+  Croxall's _Aesop's Fables_, 14, 15, 31
+  Crozat, Pierre, 22, 23, 48
+
+  D'Arcy, Robert, 35
+  Darley, Matthias, 42
+  Dunbar, Robert, 30
+    Robert, Jr., 42, 48
+  Duerer, Albrecht, 4, 9n, 41, 44, 52
+
+  Eaton, Edward, 49
+  Ecman, Edouard, 30
+  Edwards, George, 5n
+  "Ekwitz," 14
+  Elliot, Sir Gilbert, 50
+  _Enquiry into the Origins of Printing in Europe_ (publication), 41
+  _Essay on the Invention of Engraving and Printing
+    in Chiaro Oscuro_ (publication), 43
+
+  Faldoni, Giovanni Antonio, 30
+  Farsetti, Filippo, 26, 27
+  Francois, J. C., 54
+  Frederick, Charles, 31
+  Fougeron, John, 49
+
+  Gauguin, Paul, 4, 54
+  George III, 31
+  Goltzius, Hendrick, 11
+    Hubert, 22, 29, 45
+  Goya, Francesco, 4
+  Guardi, Francesco, 46
+  Gubitz, Frederich W., 67
+
+  Hogarth, William, 17
+  Hollis, Thomas, 48, 49
+
+  _Istoria del Testamento Vecchio e Nuovo_, 26
+
+  Jackson, John Baptist
+    contributions to chiaroscuro and color woodcut, 5, 6, 12, 68
+    critical opinions of his work, 7, 51-54
+    first work in chiaroscuro, 11, 12, 23
+    birth, 14
+    training, 14, 15
+    early work in London, 15, 17
+    arrival in Paris, 17
+    association with Papillon, 18-22
+    association with de Caylus and Crozat, 22, 23
+    Papillon's criticism of Jackson, 19, 20
+    arrival in Venice, 25
+    association with Zanetti, 25, 26
+    first chiaroscuros in Venice, 26
+    first chiaroscuro reproducing a painting, 27
+    early plans for wallpaper, 30
+    influence of line engraving, 29, 30
+    association with Joseph Smith, 30, 31, 32
+    production of the Venetian set, 31, 32, 33
+    production of the Ricci set,
+      his first prints in full color, 33, 35, 36
+    use of embossing, 33, 36
+    marriage, 40
+    return to England, 40
+    designs for calico, 40
+    career as a maker of wallpaper, 40-50
+    publication of _An Enquiry into the Origins
+      of Printing in Europe_, 41
+    publication of _An Essay on the Invention of Engraving
+      and Printing in Chiaro Oscuro_, 43
+    pioneer of scenic wallpaper, 46, 47
+    album ascribed to him, 48
+    collapse of wallpaper venture, 48, 49
+    meeting with Bewick, 49, 59
+    last days, 50
+    Walpole's criticism, 51
+  Janinet, Jean Francois, 4
+  Japanese woodcuts, 4, 33n, 36
+  Jegher, Christoffel, 11
+  Jones, Inigo, 46
+
+  Kirkall, Elisha, 5, 11, 14, 15, 22, 33, 41
+  Knapton, George, 33
+
+  Lallemand, George, 11, 28
+  Lancret, Nicolas, 47
+  Le Blon, Jacob Christoph, 36, 39
+  Le Clerc, Sebastien, 18, 19, 30
+  Le Sueur, Nicolas, 11, 22, 23, 28, 45
+    Vincent, 11, 18, 23, 45
+  Lethieullier, Smart, 31
+  Lewis, John, 23, 25
+  _Liber selectarum cantionum_, Senfel, 7n
+  Lorrain, Claude, 45
+
+  Mantegna, Andrea, 12n
+  Mariette, Pierre-Jean, 25, 26, 28
+  Mattaire's _Latin Classics_, 14, 31
+  Mellan, Claude, 30
+  Moreelse, Paulus, 11
+  Moretti, Giuseppe Maria, 25, 45
+  Munch, Edvard, 4, 54
+
+  Negker, Jost de, 10
+  Newdigate, Sir Roger, 32n
+
+  Pannini, Giovanni Paolo, 45, 46, 47
+  Papillon, Jean (father of J. M.), 19, 21, 22
+    Jean Michel, 6, 14, 15, 18, 19, 20, 21, 22, 23, 24, 28, 35
+  Parmigianino, 10, 22, 26, 44
+  Pasquali, J. B., 32, 40
+  Pezzana, 27, 28, 29
+  Piranesi, Giovanni Battista, 46
+  Pond, Arthur, 33
+  Poussin, Nicolas, 45
+
+  Raphael, 10, 11, 22, 23, 44
+  Ratdolt, Erhard, 7n
+  Rembrandt, 4, 31, 32
+  Ricci, Marco, 6, 35, 36, 46, 47, 53
+  Robert, P. P. A., 22
+  Romano, Giulio, 11, 23
+  Rosa, Salvator, 45
+  Rubens, Peter Paul, 27
+
+  Sadeler, Egidius, 29
+  Salviati, Francesco, 44
+  Savage, William, 67
+  Simonini, Francesco (erroneously called "Simonnetta"), 42
+  Skippe, John, 68n
+  Smith, Joseph, 30, 31
+  Suetonius' _Lives of the Twelve Caesars_, 29, 34, 48
+  Swaine, J. B., 49
+
+  Tintoretto, 32
+  Titian, 11, 29, 32, 44
+  _Traite historique et pratique
+    de la gravure en bois_, 6, 14, 19, 20, 21
+  Trento, Antonio da, 10
+
+  "Urban, Sylvanus," 41
+
+  Vallotton, Felix, 4
+  Velasquez, 42
+  Vernet, Claude Joseph, 47
+  Veronese, 52
+  Verus, Justus, 45
+  Vicentino, Giuseppe Niccolo, 10, 44
+  Villamena, Francesco, 30
+  Vouet, Simon, 11
+
+  Wallpaper, first use in England, 40
+  Walpole, Horace, 8, 31, 51
+  Ward, Dr. John, 49
+  Wechtlin, Hans, 10
+  Weiditz, Hans, 7n
+  Whistler, James M., 5n
+  Wouwerman, Philips, 45
+  Wrey, Sir Bouchier, 32n
+
+  Zanetti, Count Antonio Maria, 11, 25, 26, 45
+  Zuccarelli, Francesco, 46
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Errors and Inconsistencies
+
+  pretentions to literary culture [spelling unchanged]
+  also a woodcutter who copied Le Clerc [name printed without space]
+
+Catalog:
+
+  Punctuation in the Inscriptions is unchanged.
+  5, Inscription: F: M: Parmen* / Inventor [partially illegible]
+  9, Inscription: [AL] [A+L ligature sharing vertical line]
+  13, Inscription: Perillustri ac Praeclaro Viro =D. Josepho Smith=
+    [printed as "=Viro D. Josepho=" Smith with misplaced small capitals,
+    but see Plate 13]
+  16, St. Peter; 21, St. Catherine
+    [period after "St." invisible, but see Plate captions]
+  39: Lines "1744" and "Colors vary..." reversed in printed text.
+
+Bibliography:
+
+  [J. B. Jackson] ... as Practised by Albert Durer [no umlaut]
+
+Index to Plates:
+
+  16, _The Death of St. Peter Martyr_, after Titian
+    [printed with italic "after"]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of John Baptist Jackson, by Jacob Kainen
+
+*** END OF THIS PROJECT GUTENBERG EBOOK JOHN BAPTIST JACKSON ***
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