llustration:
22. THE CRUCIFIXION, after Tintoretto, right sheet]

_Postscript_

While Jackson had an influence on a small coterie, it did not prolong
the life of the color woodcut. In Europe the medium did not survive his
disappearance in 1755; no doubt it seemed to later artists intractable
and lacking in nuance. The black-and-white woodcut, moreover, went into
further decline and was almost entirely disregarded except for the
rudest sort of work. Almost a century and a half were to pass before
Gauguin and Munch swept aside old taboos and found exciting new
possibilities for color in the woodcut process.

The lack of interest in the color woodcut was also the result of new
techniques in the copper-plate media, techniques that could be adapted
to color printing. In 1756 J. C. Francois introduced the crayon manner,
an etching process that could imitate the effects of chalk and crayon
drawings. During the following decades numerous technical variations
were developed, the most popular being the pastel manner, the stipple,
and the aquatint.

Of these methods only aquatint survived after early years of the 19th
century. It was less limited than its companion processes and had wide
application in rendering the effect of water-color wash. But color work
in this medium, however attractive to a public that appreciated delicacy
and charm, did not have mass appeal. The new audience created by the
advancing Industrial Revolution wanted printed pictures of a less subtle
type; they preferred imitations of sentimental, banal, story-telling oil
paintings with a high, waxy finish. Neither aquatint nor other
copper-plate media were suitable for these products, and color
lithography did not receive serious attention until the late 1830's. The
wood engraving, which had inherited the function of the woodcut and
which had greater flexibility in rendering tones and details, became the
logical vehicle for the new color picture.

In this situation Jackson suddenly appeared as the pioneer, as the
father of printed pictures based upon paintings in oil or water colors.
His intention had been translation rather than imitation and he would
have abhorred the feeble new product, but this did not concern his
successors-- they were interested only in his technical principles.
Moreover, in their naivete, they imagined they were improving on Jackson
because their prints were counterfeit paintings while his were not.

The earliest pictu