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 die work. 



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 proj- 

 ect, but Crozat rejected him flatly. De Caylus, according to Jackson, was embar- 

 rassed and distressed and offered recompense for the lost time and labor, but Jack- 

 son, 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 dishked 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 com- 

 missioned 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 fin- 

 ished 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 



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