IRE Tour through Holland, Brabant, and part of France.' Encouraged by this fiction he produced, in 1792, * Picturesque Views on the River Thames ; ' and in 1793, ' Pic- turesque Views on the River Medway,' followed by * Picturesque Views on the River Severn. ' These works were produced in mezzo-tint by his own hand, from his own sketches, and pleased the taste of his day. In 1794 he published an ingenious work,
- Graphic Illustrations of Hogarth,' which
must not be confounded with the work ' Hogarth Illustrated.' edited by John Ire- land, with whom he was in no way connected. His last work, published after his death, was c Picturesque Views, with an Historical Account, of the Inns of Court.' His son has a bad reputation for his Shakespeare forgeries, and he was un- able to defend himself successfully from the suspicion of complicity in this daring fraud. JAC He published two angry, ill-judged pamph- lets on the subject. He died in Norfolk Street, Strand, in July 1800. His daughter, Jane Ireland, painted some clever minia- tures.
IVORY, Jambs, architect. Was self- educated in his profession. He practised in Dublin, and on the foundation of the Dublin Society's School was the first professor of architecture, and held the office till his death in 1786. He built the Blue-Coat Hospital, Dublin, commenced in 1773, an important, well-proportioned Ionic struc- ture, and the only monument of his ability. IVORY. Thomas, architect. Practised at Norwich about the middle of the 18th century. He built the Assembly House in that city, and the Octagon Chapel in Colegate Street, surmounted by a dome supported by Corinthian columns, 1754 56, and the theatre, 1757. He died 1780.
JACKSON, Robert, engraver. There are some early mezzo-tint portraits and a woodcut by an artist of this name in the reign of James II.
JACKSON, John, R.A, portrait paint- er- Was the son of the village tailor at Lastingham, in the North Riding of York- shire, where he was born. May 31, 1778, and was apprenticed to nis father, who could not for some time be induced to let him follow his strong predisposition for art, ^yingj * He is as good a tailor as ever sat on a sliop-board, and how can he do better? ' He soon, however, made himself known by his attempts to draw the likenesses of his companions, and was rescued from his apprenticeship bv the contributions of some friends when ne nad still two years to serve. His portraits had been slight attempts in pencil, weakly tinted, but a portrait by Reynolds was lent him to copy in oil, in which his success led to his going to Lon- don, in 1804, to study art as his profession. In this he was assisted by the generosity of Sir George Beaumont, and in 1805 he was admitted a student of the Royal Academy. The following year he exhibited a portrait- group of Lady Mulgrave and the Hon. Mrs. rhipps, and continued to exhibit his works at the Academy for several years, the names of his sitters showing how largely he was supported by Lord Mulgrave's family. He pursued his studies with assiduity, but his portraits in oil did not afford much promise. His water-colour portraits were however, as he gained power, greatly ad- mired — they were faithful in resemblance, well drawn, and carefully finished. Many of the heads in Cadell's ' Portraits of Illus- trious Persons of the 18th Century ' were drawn by him in this manner, and his practice in water-colour was extensive, and produced him a handsome income. But he aimed at distinction in oil, and soon attained complete success. In 1815 he was elected an associate of the Academy, and travelled through Holland and Flanders, studying the works of the Dutch and Flemish mas- ters. In 1817 he became a full member, and the same year the directors of the British Institution awarded him a premium of 2001. for the general merit of his pictures. In 1818 he visited the clrief cities of North- ern Italy and Rome, and was elected a member of the Academy of St. Luke. He continued to exhibit at the Academy, but exclusively portraits, up to 1830. He had many men of great distinction as sitters, and several of his most eminent contemporaries in the Academy. As a portrait painter he occupies a high rank. His works are faithful in resemblance, but wanting in elevation of character ; solidly and powerfully painted, avoiding meretricious graces. He par- ticularly excelled in subdued richness of colour, and had great facility of execution. He was of the Methodist persuasion, and of deep religious feeling. In the two last years of his life he fell into a low despond-
