The Chiaroscuros and Color Woodcuts of John Baptist Jackson
Reading edition
As noted at the beginning of the text, all Plates are shown here in numerical order, with the color plates grouped together.
1. Christ Giving the Keys to St. Peter, after Raphael (See also color plate)
2. Venus and Cupid With a Bow, after Parmigianino (See also color plate)
3. Woman Standing Holding Jar on Her Head, after Parmigianino
5. Woman Meditating (St. Thais?), after etching by Parmigianino (See also color plate)
6. Ulysses and Polyphemus, after Primaticcio
7. Bookplate
8. Judgment of Solomon, after Rubens
9. The Visitation, after Annibale Carracci
10. Julius Caesar, after Titian
11. St. Rocco, after Cherubino Alberti
12. Statuette of Neptune, after Giovanni da Bologna
13. Descent From the Cross, after Rembrandt (See also color plate)
14. Christ and the Woman of Samaria
15. Romulus and Remus, Wolf, and Sea God
16. The Death of St. Peter Martyr, after Titian
17. The Presentation in the Temple (The Circumcision), after Veronese
18. The Massacre of the Innocents, after Tintoretto
19. The Entombment, after Jacopo Bassano
20. Holy Family and Four Saints, after Veronese
21. The Mystic Marriage of St. Catherine, after Veronese
22. The Crucifixion, after Tintoretto, left sheet (See also color plates)
22. The Crucifixion, after Tintoretto, center sheet (See also color plates)
22. The Crucifixion, after Tintoretto, right sheet (See also color plates)
23. Miracle of St. Mark, after Tintoretto, left sheet
23. Miracle of St. Mark, after Tintoretto, right sheet
Miracle of St. Mark, combined view. Merged view, using shading in original.
24. The Marriage at Cana, after Veronese, left sheet
24. The Marriage at Cana, after Veronese, right sheet
The Marriage at Cana, combined view. The identification of Plates 24 (left) and 24 (right) is as in the original text. They have been reversed for the combined version.
25. Presentation of the Virgin in the Temple, after Titian, left sheet
25. Presentation of the Virgin in the Temple, after Titian, center sheet
25. Presentation of the Virgin in the Temple, after Titian, right sheet
Presentation of the Virgin in the Temple, combined view.
26. The Virgin in the Clouds and Six Saints, after Titian
27. The Descent of the Holy Spirit, after Titian
28. The Finding of Moses, after Veronese
29. The Raising of Lazarus, after Leandro Bassano
30. Christ on the Mount of Olives, after Jacopo Bassano
31. Melchisedech Blessing Abraham, after Francesco Bassano
32. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, left sheet
32. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, right sheet
Dives and Lazarus, combined view.
33. Algernon Sidney, after Justus Verus
34. Antique Bust of Woman
35. Lovers (facing right), perhaps after Piazzetta
36. Lovers (woman full face), perhaps after Piazzetta
37. Lamentation Over the Body of Christ
38. Heroic Landscape With Dedication and Classical Ruins, after Marco Ricci
39. Heroic Landscape With Sheep, Statues, and Gentlemen, after Marco Ricci
40. Heroic Landscape With Fisherman, Cows, and Horsemen, after Marco Ricci (See also color plates)
41. Heroic Landscape With Cart and Goatherd, and With S. Giorgio Maggiore in Background, after Marco Ricci
42. Heroic Landscape With Women at Brook, Child Fishing and Herdsmen, after Marco Ricci
43. Heroic Landscape With Watering Place, Riders and Obelisk, after Marco Ricci (See also color plate)
44. Battle Near Parma, after Francesco Simonini
Enlarged view.
44. Battle Near Parma, after Francesco Simonini, detail
45. Ornamental Border With Fruit, Flowers and Purple Grapes
46. Ornamental Border With Fruit, Flowers, and Green Grapes
47. Ornamental Frame With Flowers and Fruit
48. Ornamental Frame With Fruit
49. Ornamental Frame With Flowers and Girl’s Head (See also color plate)
59. Woman Standing Holding Apron, after S. Le Clerc
50. Dancing Nymph With Bow and Arrows
51. Bust of Democritus
52. The Lion
53. Building and Vegetable (See also color plate)
54. Statue of Apollo
55. The Farnese Hercules
56. Antique Bust of a Man
57. Pheasant and Garden Urn
58. Ruin of Garden Temple
60. Female Statue With Fruit and Wheat 61. Female Statue With Mask
62. Queen With Armor and Model of Building 63. Apollo With Lyre
64. Woman With Shepherd’s Pipe 65. Woman With Sheet of Music and Horn
66. Woman With Pitcher and Apron, after S. Le Clerc 67. Old Woman Standing, after S. Le Clerc
68. Lady With Staff 69. Woman With Fruit and Basket
70. Woman With Branches and Incense Burner 71. Woman With Flowers and Vines
72. Standing Woman, Head Turned to Right, after Watteau 73. Lady With Fan, after S. Le Clerc
74. Classical Female Statue
75. Boy Looking Down
76. Lady With a Flower
1. Christ Giving the Keys to St. Peter, after Raphael (b/w plate)
2. Venus and Cupid with a Bow, after Parmigianino (b/w plate)
5. Woman Meditating (St. Thais?), after etching by Parmigianino (b/w plate)
13. Descent from the Cross, after Rembrandt (b/w plate)
22. The Crucifixion, after Tintoretto, left sheet (b/w plate)
22. The Crucifixion, after Tintoretto, center sheet (b/w plate)
22. The Crucifixion, after Tintoretto, right sheet (b/w plate)
The Crucifixion, combined view.
40. Heroic Landscape with Fisherman, Cows, and Horsemen, after Marco Ricci (b/w plate)
40. Heroic Landscape with Fisherman, Cows and Horsemen, after Marco Ricci, Detail
43. Heroic Landscape with Watering Place, Riders, and Obelisk, after Marco Ricci (b/w plate)
49. Ornamental Frame with Flowers and Girl’s Head 59. Woman Standing Holding Apron (b/w plate)
Woman Standing Holding Apron: separate view added by transcriber.
53. Building and Vegetable (b/w plate)
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-huitième siècle. 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, Besançon, 1807, vol. 1, pp. 341-342.
Bénézit, 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.
Friedländer, M. J. Der Holzschnitt: Handbücher 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 siècle. 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. Idée générale d’une collection complette d’estampes. Leipzig and Vienna, 1771, p. 94.
Heller, J. Geschichte der Holzschneidekunst. Bamberg, 1823, pp. 295-296. Praktisches Handbuch für Kupferstichsammler. Leipzig, 1850, p. 334.
Lists 10 chiaroscuros by Jackson.
Heller, J., and Andresen, A. Handbuch für Kupferstichsammler. Leipzig, 1870, vol. 1, pp. 706-707.
Lists 11 prints by Jackson.
Huber, M. Notices générales des graveurs et des peintres. Dresden, 1787, pp. 676, 698.
Huber, M., and Rost, C. C. Handbuch für 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 Künstler. 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 più 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.
Müller, F., and Klunzinger, K. Die Künstler Aller Zeiten und Völker. 1857-1864, vol. 2, p. 430.
Müller, H. A., Müller, H. W., and Singer, H. W. Allgemeines Künstler-Lexicon. Frankfurt, 1895-1901, vol. 2, p. 240.
Nagler, G. K. Allgemeines Künstler-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. Traité 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,
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
References to footnotes (number+n) link directly to the appropriate note. Other references link only to the top of the page.
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, Niccolò, 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 Dürer, 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 François, 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 François, 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, Sébastien, 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 Traité 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 Niccolò, 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