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 un- 

 doubtedly made and printed himself. They are heavy and rather fruity in efTect 

 but are incisively drawn and cut. Also bearing Jackson's stamp are some orna- 

 mental 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 Mu- 

 seum, 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 HoUis, whom Jackson may have 

 met in Venice. And the Venus and Cupid with a Bow was inscribed to Thomas 

 Brand, lifelong companion of HoUis who later added to his name the latter's 

 patronymic. The Algernon Sidney has no dedication, but since HoUis 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 



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