But it is doubtful that Jackson was a pupil of Kirkall. For this assumption we have the evidence of a curious and important little book, An Enquiry into the Origins of Printing in Europe,[15] which because of a misleading title and an anonymous author has been overlooked as a reference source. It is a transcription of Jackson’s manuscript journal and was prepared for publication to coincide with
the launching of the wallpaper venture, Kirkall is mentioned as follows (pp. 25-26):
... I shall give a brief account of the State of Cutting on Wood in England for the type Press before he [Jackson] went to France in 1725. In the beginning of this Century a remarkable Blow was given to all Cutters on Wood, by an invention of engraving on the same sort of Metal which types are cast with. The celebrated Mr. Kirkhal, an able Engraver on Copper, is said to be the first who performed a Relievo Work to answer the use of Cutting on Wood. This could be dispatched much sooner, and consequently answered the purpose of Book-sellers and Printers, who purchased these sort of Works at a much chaper [sic] Rate than could be expected from an Engraver on Wood....
It does not seem reasonable that Jackson would learn the art of woodcutting from Kirkall and then refer to him as a famous engraver on copper and type metal. It is just as difficult to believe that Kirkall taught Jackson to work on metal, not wood.
The “EK” who engraved the blocks for Mattaire’s Latin Classics might very well have been Kirkall, whose style also might have had something in common with Jackson’s early work. But this would not necessarily indicate a definite influence. English pictorial relief prints for book illustration in the first decades of the 18th century had one characteristic in common; they were almost all done with the engraver’s burin on type metal or end-grain boxwood. They therefore showed elements of a “white-line” style as opposed to the black-line or knife-cut method commonly used in other countries. While it is likely that Jackson was an exception to the general rule in England (we have his word for it in the Enquiry, as we shall see), he was also deeply influenced by the prevailing English style of burin work on wood or type metal. If Papillon saw a similarity between Jackson’s cuts and those in the Latin Classics, it might have been because he was unfamiliar with other examples of English work and did not recognize a national style.
The initials “J. B. I.” appear on a small cut in the 1717 edition of Dryden’s plays, also published by Tonson. If this is an early piece by Jackson it would indicate that he might have been born earlier than 1701, although it is conceivable that he could have made it when he was sixteen.
This is the extent of the evidence, or rather lack of evidence, of Jackson’s early years in England. Nothing is certain except that woodblock work was at a
particularly low ebb. Standards in typography and printing were rude (Caslon was just beginning his career), far inferior to those on the Continent. Cuts were used rather sparingly by printers, and almost always for initial letters (these included little pictures), for tailpieces, and for decorative borders. As a measure of economy the same cut was often repeated throughout a book. Also, initial letters were sometimes contrived to permit the type for different capitals to be inserted in the center area, so that in some instances no more than two cuts were needed to begin alternate chapters in a volume. Rarely were woodblocks employed to illustrate the text. Pictures were almost always supplied by the copper-plate engraver, even when the prints were small and surrounded with typographical matter. This was an expensive and troublesome procedure, but it was the only one possible where an able group of cutters or engravers on wood did not exist and where printers found it difficult to achieve good impressions on the uneven laid paper of the time.
The main employment for knife cutters on wood was in making the popular prints, or illustrated broadsides, which had been sold in city and village throughout the country since the early 1600’s. Plank and knife could be used for these prints because of the generally large size of the pictures and the lack of sophistication of the audience. They are described by Bewick from his memories as a boy in the 1760’s:[16]
I cannot, however, help lamenting that, in all the vicissitudes which the art of wood engraving has undergone, some species of it are lost and done away: I mean the large blocks with the prints from them, so common to be seen, when I was a boy, in every cottage and farm house throughout the country. These blocks, I suppose, from their size, must have been cut on the plank way on beech, or some other kind of close-grained wood; and from the immense number of impressions from them, so cheaply and extensively spread over the whole country, must have given employment to a great number of artists, in this inferior department of woodcutting.... These prints, which were sold at a very low price, were commonly illustrative of some memorable exploits, or were, perhaps, the portraits of eminent men.... Besides these, there were a great variety of other designs, often with songs added to them of a moral, a patriotic, or a rural tendency, which served to enliven