and he declined to admit to his diocese even his own friend, Humfrey of Oxford, on any other condition than compliance with the appointed clerical dress. As an author he stood entirely aloof from this contention. He reserved all his polemical strength for a weightier and more vital controversy, the war with Rome. In 1562 appeared his celebrated "Apologia Ecclesiæ Anglicanæ," in form as well as substance one of the ablest works of the sixteenth century. It was immensely popular both at home and abroad. The council of Trent found it expedient to appoint two of its divines to draw up an answer to it, which, however, was never done; and the book was translated into all the languages of western and central Europe. Several translations of the original Latin work were made into English, one of them in 1564, by Lady Ann Bacon, the mother of Lord Bacon. It was even proposed in the convocation of 1562, to make the work one of the symbolical books of the church. This was very properly overruled; but Jewel contributed to the Book of Homilies, which claims to be a document of authority in the church. The "Apologia" involved Jewel in a controversy with Thomas Harding, who had once been a disciple like himself of Peter Martyr, but had fallen away from the Reformation in the days of Mary. Harding's attacks upon the "Apology" drew forth from its author, in 1567, his "Defence of the Apology," in the second edition of which, published in 1569, he further replied to the renewed charges of his antagonist, who in the interval had given to the world his Detection of Sundry Foul Errors, which was written with great heat and bitterness. In the convocation of 1571, he laboured hard, but without success, to bring about a reformatio legum ecclesiasticarum; and soon after, on 23rd September, 1571, he died, while engaged in a visitation of his diocese. His life was written by Lawrence Humfrey, and has again been written in our own time by Le Bas. His works have been recently collected and published by the Parker Society, in 4 vols. He is justly regarded as one of the ablest and most authoritative expounders of the true genius and teaching of the reformed church of England.—P. L.
* JEWSBURY, Geraldine Endsor, younger sister of Maria Jane, was born in Derbyshire, but her life has been chiefly passed in Manchester. Endowed with the same mobility of mind which characterized her elder sister, her intellectual development assumed a different form. Carlyle's, instead of Wordsworth's, was the influence which exerted most power over her during her passage into thoughtful womanhood. With this influence was, for a time, curiously blended that of George Sand. Her first work, "Zoe, or the history of true lives," published in 1845, attracted some attention by its force and sincerity. It was followed in 1848 by the "Half Sisters," and in 1851 by "Marian Withers," the best of Miss Jewsbury's tales—one descriptive of life and character, higher and less high, in the manufacturing and commercial districts of Lancashire. "Constance Herbert" appeared in 1855, and "Right or Wrong" in 1859. Besides publishing some minor works. Miss Jewsbury has been and is a contributor to the critical columns of the Athenæum. In 1855 she exchanged Manchester for a permanent residence in London.—F. E.
JEWSBURY, afterwards FLETCHER, Maria Jane, a poetess and moral and religious writer, was born in 1800 in Warwickshire. In early youth she lost her mother, and her father removed to Manchester, a place not very propitious to the desire of literary distinction which early dawned within her, and the furtherance of which was also obstructed by family cares and ill health. A letter which she addressed to Wordsworth, seeking counsel and sympathy and expressing admiration, met with a friendly response; and the acquaintance with the great poet thus commenced, ripened into permanent intimacy. Miss Jewsbury also formed a friendship with Mrs. Hemans; and in early life owed something to the good offices of Mr. Alaric Attila Watts, while resident in Manchester as editor of a local journal. Her first work, "Phantasmagoria, or sketches of life and literature," was published in 1825; her second, "Letters to the Young," reached the fifth edition in 1843; and her third, "Three Histories," in which her friend Mrs. Hemans was sketched, became a great favourite with the public. Her "Lays of Leisure Hours," 1829, were praised by Christopher North. Miss Jewsbury was a contributor to the Athenæum in its early days, and to other periodicals. In 1832 she married the Rev. William Fletcher, and accompanied him on a religious mission to India, but soon after her arrival at Bombay fell a victim to cholera. Wordsworth said of her, that for "quickness in the motions of her mind" he had "never known her equal;" and this intellectual mobility, combined with deep seriousness of disposition, gave the charm to her writings, which made them very popular with a considerable section of the reading public.—F. E.
JOACHIM, a cistercian monk, born in 1130 or 1145. He went to Palestine, and on his return became abbot of a monastery in Calabria. He made a great noise in his day by his extravagant writings, and his claims to the gift of prophecy. His doctrine was condemned in the Lateran council of 1215, by Alexander IV. in 1256, and by the council of Arles in 1260, the year which he had fixed for the end of the world. He wrote commentaries on scripture, and a treatise on the Trinity, against Peter Lombard; but the most celebrated of his writings is his "Vaticinia de Summis Romanis Pontificibus." He died in 1202 or 1207.—B. H. C.
* JOACHIM, Joseph, the violinist, was born in 1830, at Kitsee, a village near Presburg, and his family moved with him to Pesth in the following year. When he was four years and a half old, he began to learn music under his sister's master, who quickly perceiving his rare ability, diffidently advised his being placed under a superior instructor. Szervacsinsky, a Pole, the director of the orchestra at the theatre, was accordingly selected to be Joachim's teacher, with whom he studied the instrument upon which he has become famous. After two years' practice, in 1837 he made his first appearance in public, when he played a duet with his master. The powers of the young artist were warmly recognized, but he needed not popular applause to stimulate him to further exertion. In 1838 Joachim went to Vienna to become the pupil of Böhn, and in 1842 to Leipsic, where he wished to place himself under David, who, however, avowed that there was nothing he could teach him, but who took a genuine artist's pleasure in practising concerted music with the boy proficient. There Joachim studied counterpoint and composition with Hauptmann, and, more important, made the friendship of Mendelssohn, who saw at a glance into the pure depths of his artistic spirit, and by the warmth of his own genius drew forth new rays from that of his protegée. In 1844 Joachim first came to London; here he was received as an infant prodigy, but he proved himself to be a mature artist, needing no concessions for his tender years, but challenging the severest criticism, and competing with the most distinguished players of the day. Hither he came again in 1847, in 1849, in 1852, in 1858, and in 1859, and on each return he showed such progress beyond what he had before accomplished, as no one but himself could have achieved. In 1845 Joachim visited Paris with remarkable success. In 1846 he divided the office of concertmeister at Leipsic with David; thither went Liszt, to make acquaintance with his extraordinary talent, authorized to engage him as concertmeister to the duke of Weimar in 1850. Joachim relinquished this appointment for the same office under the king of Hanover, who successively conferred on him the gold medal of art and science, and the Guelphic order; but while no artist ever merited such distinctions more than he, there never was one who prized them less, or who less sought them. Joachim one year spent his vacation at the university of Göttingen, where he was as ardent in the perfecting of his literary attainments as any student to whom this was the sole object of life. In 1861 he gave a series of concerts in Vienna, where he excited the wondering delight of all who heard him; and he gave also concerts at Pesth, where the years of his infancy had been passed, and where he now received a truly national welcome. His Hungarian concerto, in which he has embodied all his early associations, was on this occasion heard with a peculiar interest. Joachim as an artist is to be regarded from two points of view; first, as an executant, in which quality he is pre-eminent, but which quality he never obtrudes upon his audience, so completely does he make us forget the player in the music he presents to us; next, as an interpreter of that deep purpose which is beyond the power of notation to define, in respect of which the greatest composer is utterly at the mercy of his player, and in which Joachim has not a rival. His compositions, chiefly for his instrument, but including some characteristic overtures and some detached songs, have all the profound earnestness that distinguishes his playing; but though there be in all an intense musical feeling, and in some—the "Hebrew Melodies," for example—much real beauty, there is not the element to enchain sympathy, which renders his
