and Importance in point of Religion and Liberty’ (1755), and ‘A Letter to a Friend in the Country.’ He also made copious notes for a contemplated biography of Cranmer, but presented his notes to his friend Gilpin, who had conceived the idea of writing on the same subject. Early in 1783 much of Jones's correspondence with Birch and other papers of his were presented to Nichols the antiquary, who published many extracts in the ‘Gentleman's Magazine’ and in the ‘Literary Anecdotes.’ But the greater portion of his manuscripts passed on his death into the hands of Dr. Thomas Dawson, a dissenting minister at Hackney; they are now in Dr. Williams's Library, London.
[Autobiography of the Rev. John Jones, preserved among the Jones MSS. at Dr. Williams's Library, B. 101; Last Will and Testament of John Jones (ib.); Cat. of Oxford Graduates; Gent. Mag. 1811, pt. i. p. 510; Chalmers's Biog. Dict.; Urwick's Nonconformity in Herts, pp. 341, 590, 621; Nichols's Lit. Anecd. i. 585–639, iii. 15, viii. 289–92; Brit. Mus. Cat.]
JONES, JOHN (d. 1796), organist and composer, was organist to the Middle Temple from 24 Nov. 1749, to the Charterhouse from 2 July 1753, and to St. Paul's Cathedral from 25 Dec. 1755 until his death on 17 Feb. 1796 (Grove). One of his chants, as performed by the charity children at their annual meeting in St. Paul's in 1791 was heard by Haydn, who noted it down in his diary, with the comment, ‘No music has ever affected me so much as this innocent and devotional strain.’
Jones published ‘Lessons for the Harpsichord,’ 2 vols., 1761, and ‘Sixty Chants, Single and Double,’ 1785.
Another John Jones (fl. 1797), sub-director of the Handel Commemoration in 1784, was probably the composer of ‘Six Pianoforte Trios,’ and the glee, ‘Ah! pleasing scenes,’ both published about 1797.
[Grove's Dict. of Music, ii. 39, iv. 686; Pohl's Haydn in London, pp. 147, 213; Mendel's Lexikon, v. 475.]
JONES, JOHN (1745?–1797), engraver, born about 1745, practised both in mezzotinto and stipple, and produced a large number of plates, chiefly from portraits by Reynolds, Romney, and other contemporary painters; these, with few exceptions, he published himself in Great Portland Street, where he resided from 1783 until his death. He exhibited with the Incorporated Society of Artists from 1775 to 1791. In 1790 he was appointed engraver extraordinary to the Prince of Wales, and he was also principal engraver to the Duke of York. Jones's mezzotints, though somewhat black, are powerful and artistic in treatment; they include portraits of Signora Baccelli and Richard Warren, M.D., after Gainsborough; James Balfour and Fraser Tytler, after Raeburn; John Barker, J. Boswell, G. J. Cholmondeley, C. J. Fox, Lord Hood, Fanny Kemble, William Pitt, and the Hon. Mrs. Tollemache, after Reynolds; Ynyr Burges, Edmund Burke, and the Duke and Duchess of Marlborough, after Romney; and W. T. Lewis as the Marquis in the ‘Midnight Hour,’ after Shee; also the Blenheim Theatricals, after J. Roberts, and some fine figure-subjects after G. Carter, W. R. Bigg, Fuseli, and others. Among his stipple plates are Miss Farren and Mr. King as Sir Peter and Lady Teazle, after Downman; Serena, after Romney; Robinetta, Muscipula, the Fortune Teller, and portrait of the Duke of York, after Reynolds. The print of Reynolds's ‘View from Richmond Hill,’ the proofs of which are dated 1796, was published by Jones's widow in 1800. He died in 1797. George Jones, R.A. [q. v.], was his only son.
[Redgrave's Dict. of Artists; J. Chaloner Smith's British Mezzotinto Portraits; Graves's Dict. of Artists, 1760–1880.]
JONES, JOHN (1767–1821), Welsh comic and satirical song-writer, is better known as Siôn Glanygors, from his birthplace, Glan y Gors, near Cerrig y Druidion. He was baptised at Cerrig, 10 Nov. 1767. While still young he settled in London, where, with one interval, he spent the remainder of his days, becoming in later life proprietor of the King's Head Inn, Ludgate Hill. He was an active member of the Gwyneddigion, the well-known literary society of the London Welshmen, which met at his tavern, and he filled the office of vice-president, secretary, and bard at different times, though he could never be induced to accept the presidency. His best-known poems are: ‘Sessiwn yng Nghymru,’ a satire on the system of administering law in Wales in the English language; ‘Dic Shon Dafydd,’ a caricature of a Welshman who affects ignorance of his native tongue (originally published in a collection of poems edited by Robert Davies of Nantglyn, London, 1803, p. 87); and ‘Offeiriad yn Sir Aberteifi,’ in which the typical Welsh clergyman of his time is held up to ridicule for his irregularities. These and other humorous pieces have been published in a collected form in ‘Yr Awen Fywiog,’ Llanrwst, 1858. His sympathy with the French revolution, and his advocacy of republican principles in a tract called ‘Seren tan Gwmmwl,’ Lon-
