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Diffstat (limited to 'old')
198 files changed, 5491 insertions, 0 deletions
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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 *** + +***** This file should be named 22263.txt or 22263.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/2/6/22263/ + +Produced by Louise Hope, Chris Curnow, Joseph Cooper and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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