rdinarily cultivated taste of the artist,
give the composition a decorative effect far from any realistic
imitation of nature.... The relief impressed with the blocks is so
strong that, going beyond all other prior attempts of the kind, it
represents an essential factor of the composition through its actual
light-and-shadow effects.

[Footnote 53: Reichel, 1926, p. 48.]

Although by this time Jackson's chiaroscuros were regarded with respect
and his color prints were acknowledged to be of prime importance, some
of the conservative wallpaper historians were still repelled by their
vigor, which did not suit genteel notions of interior decoration. Sugden
and Edmondson[54] in 1925 certainly failed to understand both Jackson's
work and the period in which it was done. They comment:

Jackson's bold claims to originality and merit are scarcely borne
out by anything he is known to have achieved. That he had a vogue,
however, seems certain, for apart from his "Essay" he has come down
to us as a historical figure. To modern tastes in art many of his
productions seem almost monstrous, and yet they were to some extent
the expression of the time-spirit in which they were born.

[Footnote 54: Sugden and Edmondson, 1925, p. 71.]

[Transcriber's Note:

The color Plates were printed after the first page of Postscript, at
the mid-sentence point "they preferred imitations of sentimental, /
banal, story-telling oil paintings".]

[Illustration:
1. CHRIST GIVING THE KEYS TO ST. PETER, after Raphael]

[Illustration:
2. VENUS AND CUPID WITH A BOW, after Parmigianino]

[Illustration:
5. WOMAN MEDITATING (ST. THAIS?), after etching by Parmigianino]

[Illustration:
13. DESCENT FROM THE CROSS, after Rembrandt]

[Illustration:
43. HEROIC LANDSCAPE WITH WATERING PLACE, RIDERS, AND OBELISK,
after Marco Ricci]

[Illustration:
40. HEROIC LANDSCAPE WITH FISHERMAN, COWS, AND HORSEMEN,
after Marco Ricci]

[Illustration:
40. HEROIC LANDSCAPE WITH FISHERMAN, COWS AND HORSEMEN,
after Marco Ricci, Detail]

[Illustration:
49. ORNAMENTAL FRAME WITH FLOWERS AND GIRL'S HEAD
59. WOMAN STANDING HOLDING APRON]

[Illustration:
53. BUILDING AND VEGETABLE]

[Illustration:
22. THE CRUCIFIXION, after Tintoretto, left sheet]

[Illustration:
22. THE CRUCIFIXION, after Tintoretto, center sheet]

[I