Under Elizabeth’s succession he returned to England, and made earnest efforts to secure what would now be called a low-church settlement of religion. Indeed, his attitude was hardly distinguishable from that of the Elizabethan Puritans, but he gradually modified it under the stress of office and responsibility. He was one of the disputants selected to confute the Romanists at the conference of Westminster after Easter 1559; he was select preacher at St Paul’s cross on the 15th of June; and in the autumn was engaged as one of the royal visitors of the western counties. His congé d’élire as bishop of Salisbury had been made out on the 27th of July, but he was not consecrated until the 21st of January 1560. He now constituted himself the literary apologist of the Elizabethan settlement. He had on the 26th of November 1559, in a sermon at St Paul’s Cross, challenged all comers to prove the Roman case out of the Scriptures, or the councils or Fathers for the first six hundred years after Christ. He repeated his challenge in 1560, and Dr Henry Cole took it up. The chief result was Jewel’s Apologia ecclesiae Anglicanae, published in 1562, which in Bishop Creighton’s words is “the first methodical statement of the position of the Church of England against the Church of Rome, and forms the groundwork of all subsequent controversy.” A more formidable antagonist than Cole now entered the lists in the person of Thomas Harding, an Oxford contemporary whom Jewel had deprived of his prebend in Salisbury Cathedral for recusancy. He published an elaborate and bitter Answer in 1564, to which Jewel issued a Reply in 1565. Harding followed with a Confutation, and Jewel with a Defence, of the Apology in 1566 and 1567; the combatants ranged over the whole field of the Anglo-Roman controversy, and Jewel’s theology was officially enjoined upon the Church by Archbishop Bancroft in the reign of James I. Latterly Jewel had been confronted with criticism from a different quarter. The arguments that had weaned him from his Zwinglian simplicity did not satisfy his unpromoted brethren, and Jewel had to refuse admission to a benefice to his friend Laurence Humphrey (q.v.), who would not wear a surplice. He was consulted a good deal by the government on such questions as England’s attitude towards the council of Trent, and political considerations made him more and more hostile to Puritan demands with which he had previously sympathized. He wrote an attack on Cartwright, which was published after his death by Whitgift. He died on the 23rd of September 1571, and was buried in Salisbury Cathedral, where he had built a library. Hooker, who speaks of Jewel as “the worthiest divine that Christendom hath bred for some hundreds of years,” was one of the boys whom Jewel prepared in his house for the university; and his Ecclesiastical Polity owes much to Jewel’s training.
Jewel’s works were published in a folio in 1609 under the direction of Bancroft, who ordered the Apology to be placed in churches, in some of which it may still be seen chained to the lectern; other editions appeared at Oxford (1848, 8 vols.) and Cambridge (Parker Soc., 4 vols.). See also Gough’s Index to Parker Soc. Publ.; Strype’s Works (General Index); Acts of the Privy Council; Calendars of Domestic and Spanish State Papers; Dixon’s and Frere’s Church Histories; and Dictionary of National Biography (art. by Bishop Creighton).
(A. F. P.)
JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word), a collective term for jewels, or the art connected with them—jewels being personal ornaments, usually made of gems, precious stones, &c., with a setting of precious metal; in a restricted sense it is also common to speak of a gem-stone itself as a jewel, when utilized in this way. Personal ornaments appear to have been among the very first objects on which the invention and ingenuity of man were exercised; and there is no record of any people so rude as not to employ some kind of personal decoration. Natural objects, such as small shells, dried berries, small perforated stones, feathers of variegated colours, were combined by stringing or tying together to ornament the head, neck, arms and legs, the fingers, and even the toes, whilst the cartilages of the nose and ears were frequently perforated for the more ready suspension of suitable ornaments.
Amongst modern Oriental nations we find almost every kind of personal decoration, from the simple caste mark on the forehead of the Hindu to the gorgeous examples of beaten gold and silver work of the various cities and provinces of India. Nor are such decorations mere ornaments without use or meaning. The hook with its corresponding perforation or eye, the clasp, the buckle, the button, grew step by step into a special ornament, according to the rank, means, taste and wants of the wearer, or became an evidence of the dignity of office. Nor was the jewel deemed to have served its purpose with the death of its owner, for it is to the tombs of ancient peoples that we must look for evidence of the early existence of the jeweller’s art.
The jewelry of the ancient Egyptians has been preserved for us in their tombs, sometimes in, and sometimes near the sarcophagi which contained the embalmed bodies of the wearers. An amazing series of finds of the intact jewels of five princesses of the XIIth Dynasty (c. 2400 B.C.) was the result of the excavations of J. de Morgan at Dāhshur in 1894-1895. The treasure of Princess Hathor-Set contained jewels with the names of Senwosri (Usertesen) II. and III., one of whom was probably her father. The treasure of Princess Merit contained the names of the same two monarchs, and also that of Amenemhē III., to whose family Princess Nebhotp may have belonged. The two remaining princesses were Ita and Khnumit.
| Fig. 1. |
The art of the nameless Memphite jewellers of the XIIth Dynasty is marked by perfect accuracy of execution, by sureness of intention, by decorative instinct and sobriety in design, and by the serviceable nature of the jewels for actual wear. All forms of work are represented—including chiselling, soldering, inlaying with coloured stones, moulding and working with twisted wires and filigree. Here also occurs the earliest instance of granulated work, with small grains of gold, soldered on a flat surface (fig. 1). The principal items in this dazzling group are the following: Three gold pectorals (fig. 2 and Plate I. figs. 35, 36) worked à jour (with the interstices left open); on the front side they are inlaid with coloured stones, the fine cloisons being the only portion of the gold that is visible; on the back, the gold surfaces are most delicately carved, in low relief. Two gold crowns (Plate I. figs. 32, 34), found together, are curiously contrasted in character. The one (fig. 32) is of a formal design, of gold, inlaid (the plume, Plate I. fig 33, was attached to it); the other (fig. 34) has a multitude of star-like flowers, embodied in a filigree of daintily twisted wires. A dagger with inlaid patterns on the handle shows extraordinary perfection of finish.