f places in the _Traite_ he made reference to other woodcutters who
were working in Jackson's style, and he recorded some of the works the
Englishman illustrated during his five years in Paris.

[Illustration:
Headpiece by J. M. Papillon for his _Traite historique et pratique
de la gravure en bois_, Paris, 1766, vol. 3. This is an example of
Papillon's minute style, against which Jackson rebelled.
Actual size.]

Jackson's blossoming out as a maker of wallpaper after his return to
England and his brash claims in this connection in the _Essay_, must
also have irked Papillon, who knew the field as an expert; his father in
1688 had set up the first large printing house in France for wall
hangings, and after his death in 1723 Papillon had inherited it. In
1740, he sold the business to the widow Langlois, but he had run the
shop during Jackson's residence in Paris and his former employee no
doubt had learned a great deal by observing its operation. Yet here more
than twenty years later was the upstart Englishman again, venturing into
wallpaper manufacturing with an air of moral superiority, attacking all
other products as unworthy. Jackson's ridiculing of the Chinese style
must have been particularly galling since Papillon and his father had
specialized in producing such papers. These were much better than
comparable English work, but Jackson, confining himself to English
products, had attacked the whole style without making distinctions.

According to the _Enquiry_ (pages 32-55 of this book will be drawn upon
for the ensuing details of Jackson's career), M. Annison, Director of
the Imprimerie Royale, for whom Jackson produced many cuts, introduced
him to Count de Caylus, collector, connoisseur, etcher, and the leading
spirit in French engraving at the time. De Caylus had, in 1725,
undertaken to direct the reproduction of drawings and paintings in the
best French collections.[21] Pierre Crozat, the famous collector,
sponsored the publication of this ambitious work.

[Footnote 21: _Recueil d'estampes d'apres les plus beaux tableaux
et d'apres les plus beaux dessins qui sont en France dans le
cabinet du Roy, dans celui de M. le Duc d'Orleans et dans d'autres
cabinets, divise suivant les differentes ecoles._ Paris, 1729-42,
2 vols., 182 plates. Often called the _Cabinet Crozat_, it was
reprinted by Basan in 1763 with aquatint tones by Francois
Charpentier replacing the woodbloc