it is true that he was not always certain as to dates, since he beUeved Andreani 

 worked as a contemporary of da Carpi. In the Enquiry, pubUshed 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 pro- 

 portion, 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. Jac^soft 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 belong- 

 ing 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 stames of an- 

 tiquity; the landscapes of Salvator Rosa, Claude Lorrain, Poussin, Berghem, 

 Wouwerman, the views of Canaletto, Pannini — 



45 



