s, where he
could find nothing further to do, traveled in France; then,
disgusted with his art, he followed a painter to Rome, after which
he went to Venice, where, I am told, he married, and then returned
to England, his native country.

Whether or not Jackson was unethical he was certainly an active
competitor and many printers "supplied themselves amply with his cuts."
He must have produced an enormous amount of work during his five years
in Paris because John Smith, in his _Printers Grammar_,[18] says that
Jackson's cuts were used so widely and for so many years in Paris that
they replaced the fashion of using "flowers," or typographical
ornaments, and that this style did not come into vogue again until the
cuts were completely worn down through use.

[Footnote 18: Smith, 1755, p. 136.]

This statement is not entirely true, but it is probable that Jackson's
woodcuts, more broadly executed than the typical French products,
outlasted all others of the 1725-30 period. They were consistently
re-used, and appeared, as far as they can be traced, well into the
1780's.[19]

[Footnote 19: See cuts in _Dissertatiumeula quodlibetariis
disputationibus_ of C. L. Berthollet, Paris, 1780, and _Voyage
litteraire de la Grece_, of de Guys, 1783.]

Elsewhere in the _Traite_, however, Papillon has a good word for
Jackson's abilities:[20]

Jackson, of whom I have already spoken, also engraved in
chiaroscuro; I have a little landscape by him which is very nicely
done.

[Footnote 20: P. 415. This may be the print formerly in Dresden
but lost during the war.]

It was inevitable that Papillon and Jackson should clash. The
Frenchman's notion of woodcutting was influenced, as we have seen, by
copper plate engraving; he wanted, by incredible minuteness of cutting,
to achieve approximately the same results. This was in keeping with the
delicate French _rocaille_ tradition on which Papillon was nurtured; to
him any other contemporary style of book decoration was evidence of bad
taste. Jackson, on his part, felt that this approach violated the
essentially broad, vigorous nature of the woodcut and, in addition, made
excessive demands on the printer. Since this impoverished beginner, and
an Englishman at that, refused to take his earnest advice or to fall
into the prevailing style, Papillon was enraged. After all, Jackson was
working as an employee. But Papillon was not entirely blind. In a number
o