t
in the book has darkened and yellowed 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 undoubtedly made and printed himself. They
are heavy and rather fruity in effect but are incisively drawn and cut.
Also bearing Jackson's stamp are some ornamental 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
Museum, 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 Hollis, whom Jackson may have met in Venice. And the
_Venus and Cupid with a Bow_ was inscribed to Thomas Brand, lifelong
companion of Hollis who later added to his name the latter's patronymic.
The _Algernon Sidney_ has no dedication, but since Hollis 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