Page:Dictionary of National Biography, Second Supplement, volume 2.djvu/378

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and most important work. He contributed many articles to 'Brain,' the 'West Riding Hospital Reports,' the 'Lancet,' 'British Medical Journal,' 'Medical Times and Gazette,' 'Medical Press and Circular,' the 'Proceedings of the International Medical Congress in London,' the 'Moorfields Hospital Reports,' and the 'Proceedings' of the Ophthalmological and Medical Societies.

[The Times, 9 Oct. 1911; British Med. Journ. and Lancet, 14 Oct. 1911; London Hosp. Gaz., Oct. and Dec. 1895; Sir Jonathan Hutchinson in Brit. Med. Journal, 9 Nov. 1911; information from Mr. Charles Jackson (cousin); personal knowledge.]

J. T.

JACKSON, MASON (1819–1903), wood-engraver, was born of humble parentage at Ovingham, Northumberland, on 25 May 1819. He came to London at the age of eleven to reside with his elder brother, John Jackson [q. v.], joint author with William Andrew Chatto of the 'Treatise on Wood Engraving' (1839). Mason received from his brother his first lessons in wood-engraving. By 1836 he was sufficiently advanced to take part in the engraving of Richard Seymour's design for the green wrapper of the monthly parts of 'Pickwick Papers.' Between 1850 and 1860 Jackson made himself a name by his wood-engravings for the Art Union of London; by his engraved illustrations to Knight's Shakespeare (1851–2), Walton's 'Compleat Angler' (1856), and the 'Arabian Nights' (1859); and by his work in the 'Illustrated London News.' On the death of Herbert Ingram [q. v.] in 1860 Jackson joined the staff of the 'Illustrated London News' as art editor, a position which he filled with great ability till his retirement some thirty years later. Like his brother. Mason Jackson took a literary and historical as well as a practical interest in his profession. His book 'The Pictorial Press : its Origin and Progress' (1885) is a valuable work, tracing the rise and progress of illustrated journalism from its crudest beginnings to its modern development. He died in London on 28 Dec. 1903, and was buried in Brompton cemetery.

Jackson married Lucy Tippetts on 16 July 1864, and had two sons and a daughter. His daughter married Professor Sir Walter Raleigh in July 1890.

His elder son, Arthur Mason Jackson (1866-1909), was educated at Westminster School and Brasenose College, Oxford, and entered the Indian Civil Service in 1887. After being collector at Nasik for two years he was murdered there by a young Brahmin on 21 Dec. 1909, on the eve of his departure to take over the duties of collector at Bombay. During his service in India he devoted his great talents especially to the study of Sanskrit and the vernaculars, and was recognised as one of the best Oriental scholars of his day.

[The Times, 2 Jan. 1904 and 23 Dec. 1909; Illustrated London News, 2 Jan. 1904; private information.]

M. H.

JACKSON, SAMUEL PHILLIPS (1830–1904), water-colour artist, born at Bristol on 4 Sept. 1830, was only son of four children of Samuel Jackson [q. v.], landscape-painter, by his wife Jane Phillips. One sister married Mr. Roeckel, musical composer; another is Mrs. Ada Villiers, a musician. He received early instruction in art from his father at Bristol, and studied figure drawing at the life school of the academy there. Among his early Bristol friends were James Francis Danby [q. v.] and Charles Branwhite [q. V.]. He soon directed his attention mainly to land- and sea-scape, and first exhibited in London at the age of twenty. In 1851 his 'Dismasted Ship off the Welsh Coast' was shown at the British Institution, where between that year and 1857 he exhibited nine pictures. He first exhibited at the Royal Academy in 1852, and from that year to 1881 sent eight paintings and eight drawings. On 14 Feb. 1853 he was made associate of the Royal Water Colour Society, and henceforth confined himself to water colours, sending the maximum number of pictures — eight a year — to each summer exhibition of the society until 1876, when he was elected full member. By 1881 he had sent some 500 works to the winter and summer exhibitions. His earlier works, mainly in oils, showed a preference for Devon and Cornish coast scenes, and many of them won the praise of Ruskin. His 'Coast of North Devon' (Brit. Instit.) was bought by Mr. Bicknell. The more important were 'A Roadstead after a Gale, Twilight' (R.A 1852), 'Towing a Disabled Vessel' (R.A. 1852), 'Hazy Morning on the Coast of Devon' (1853), (the two latter now in Vict. and Alb. Museum, South Kensington), 'A Summer Day on the Coast' (1855), 'The Breakwater and Chapel Rock, Bude,' and 'The Sands at Bude' (1856), 'Dartmouth Harbour' (1858), 'On the Hamoaze, Plymouth' (1858, now at South Kensington), 'Styhead Tarn, Cumberland' (1858), and 'A Dead Calm far at sea' (1858). A tour in Switzerland in 1858 with his father produced his 'Lake of Thun — Evening,' exhibited in 1859. Other sea-scapes followed, viz. 'Bam-