Another Reason perhaps is, that the Artist being totally engaged in the Pur- 

 suit 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 Green- 

 house, 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 die 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 Diirer, 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. ]ac\son 

 [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 Trudi, has the Italian Method since the Beginning of the i6th 

 Century been attempted by any one except Mr. ]ac\son. 



We cannot help concluding that Jackson was falsifying here. Taking advan- 

 tage of the public's ignorance, he was pufEng up his historical importance in order 

 to sell wallpaper. If the cognoscenti complained that he had buried the chiaroscur- 

 ists 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 



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