I O O 



227 



J O R 



money was returned to the subscribers. Jonson in his 

 person was large and corpulent. He had, Aubrey 

 been lair and smooth faced, but a scorbutic humour 

 seems to have fallen at an early period into his face, 

 and to have seared it in a very perceptible degree. 

 Randolph the poet, and others of his admirers, traced 

 a resemblance in him to the head of Menander, as ex- 

 hibited on ancient medals. 



son, whatever his last biographer may say of the 

 candour and aminlilencss of his dispositions, was cer- 

 tainly not endowed with the meekness and modesty 

 which are sometime* known to accompany transcen- 

 dant talents, and which disarm the envy that naturally 

 --.* the possessor of great geniu^. I'ntbrtunate as 

 he sometimes was, in being embroiled with hi.-, contem- 

 poraries, he seems, however, upon the whole, to have 

 been more fully and fairly appreciated in his lift-time 

 than he has generally been in the course of two suc- 

 ceeding centuries. He was deeply learned, and he was 

 laborious in the execution of his art. An invidious 

 conclusion has been too often drawn, that because 

 he was learned, he was pedantic; and that because 

 he wrote upon fixed principles, he must necessarily 

 be for ever stiff und artificial. But the scholarship 

 which he brought to our drama was in many respects 

 snbtervient to the purest objects of excellence. He 

 brought the truth and simplicity of the ancient stage 

 upon our own, at a time when our dramatic poets had 

 it extravagance and absurdity in the scene* 

 and incidents of their pieces, whieh they generally 

 drew from ome novel or romance. His vein of hu- 

 mour was powerful and original ; his sense of moral 

 truth, keen and sagacious. The latter quality of hit 

 mind often prrdotr mated as the more dignified ovi 

 humour, and he would often sacrifice ludicrou* effect in 

 his pieces, to give them the -'mi and severe graces of 



He wa hajij y in discriminating character 



' -t -!. id) I !'' ri-n. , , ;^ v., I ;n in |,K-. 



> nt li.ri.i*. 



iflerence, 



in IxiM, broad, and pr< 

 \A\-r a ma-terly conformation, and their cam- 

 are adjusted with the firmest unity of do 

 the stage is manly, though it is al- 

 most only in hit nhortcr lyrical effusions that we find 

 him graceful and beautiful. It must, however, be de- 

 ritv that his severity of manner 

 to hardnes* ; that instead of inu-rr<ting 

 nietimes treats us to abstract 

 man character, which are neither amu- 

 '" their exposure; and that he la- 



M hn important character!. His 

 lyrical pc jt rhp, the most delightful part 



<.t hi, IH*-'-, il (l.ir.i. tcr In Song* and BMWptn .mil 

 inter has a wildness and sweetness that 



i not expect from the severity of his dra- 

 i"* 1 ' "t IK- said, indeed, that he is a]. 



way* free from metaphysical conceit, but hi* language 

 '. *' *' thought, and polished with elegance. 



the whole, his merits, after every fair deduction, 

 leave him in posaesninn of a high niche in our litera- 

 tur, and entitle him to.be ranked (next to Shakes- 

 peare) a the most important benefactor of our early 

 drama. I,) 



i seaport town in Cuzrrat, situated on 

 ~h. A very brisk trade is carried on 

 between thi town and Mandavee, as well as other 

 pl**** n of Cutch, and occa-ionallv with 



Bombay. The export* are principal)) -hee, 



r .T 'o i he southern ports ; ;" 



garee ckrth for Persia and Arabia. Its import* are 



spices of all kinds, powder, lead, and cocoa nuts. The 

 vessels of (ooria carry from 50 to 60 candies. The 

 larger vessels are unloaded at a place about three miles 

 from the town, and the goods brought to within one mile 

 of the fort by means of lighters The value of the port 

 is about 30,000 rupees per annum. looria is subject to 

 the Rajah of Amran ; and a treaty was entered into be- 

 tween this place and the British government in 1808. 

 See Hamilton's Gazetteer. 



JOPPA. See JAFFA. 



JORDAENS, JACOB, a celebrated Dutch painter of 

 historical and allegorical subjects, and bacchanalians, 

 was born at Antwerp in the year 1594: Nothing- re- 

 in irkable concerning his parentage has been preserv- 

 ed ; but at an early age he became a pupil of Adam 

 Van Oort, a native of the same city, who died in 1641. 

 Van Oort was a man of irritable temper, and coarse and 

 forbidding manners, whereby he not only lost the re- 

 gard of his pupils, among whom was the famous Ru- 

 bens, but forfeited the esteem of his friends. Jordaens, 

 however, from his own mild and pacific disposition, 

 could accommodate himself to the caprice of his master, 

 to which also an attachment to his daughter is suppo- 

 sed to have contributed. He married her soon after, 

 and henceforward began to apply with all possible assi. 

 duiiy to his profession. Sandsrart indeed, in his Aca- 

 drmia XtMinima Artit Pictoritf, seems to infer, that 

 it was perhaps to that sedulous attention which always 

 distinguished him, that he obtained so much of Van 

 Oort's favour. 



Jordaens speedily employed his pencil on subjects 

 both sacred and profane, as well as those of his own 

 composition. Among the earliest specimens of his art, 

 was a painting of the Satyr from /bsop's Fables, who, 

 having entered a peasant's cottage, retreated in disgust 

 on teeing him blow hot and cold with the same breath ; 

 ami this work gained such celebrity, that it was engra- 

 vi d l>y Luc* Vastermann. Next he painted Christ on 

 the Mount of (Mires, betrayed by Judas, and bound by 

 the Jews, while Peter with hit sword struck otf the 

 ear of M!rhu, the high priest's servant : a night <rene, 

 admirably executed. A parallel now began to In- drawn 

 between Jordaens and Rubens ; and the mot>t skilful, 

 who were inclined to bestow the palm of invention on 

 the latter, ascribed the stricter representation of truth, 

 and more forcible expression, to the former Perhaps 

 Jordafti- hid not equal opportunities of studying the 

 mot celebrated works; for although he always enter- 

 tained a strong desire to visit Home, the circumstance* 

 attending on his marriage prevented him. 



Rubens was accustomed to employ many other ar- 

 tistt in assisting him to complete his works, as they 

 gained access to him, for the purpose of receiving in- 

 struction. Jordaens appears to have been <.; t i- num- 

 ber. It is said, that Rubens occupied him for a consi- 

 derable time in painting designs for tapestries in dis- 

 temper after his own sketches; and .Sandsrart affirms, 

 that he was engaged by the King of Spain to execute 

 some tapestries for the royal palace at Madrid, a work 

 which he finished with wonderful elegince ; but that 

 by addicting himself to this *tyle, he weakened his 

 own knowledge of the principles of colouring, and 

 <!i- '. the tints whereby he so accurately repre- 

 sented nature. Rubens bi 'ing then the mot flourish- 

 ing painter of the age, is accused of entertaining great 

 jealomy of his talents, and of having taken that me- 

 th' d to depreciate them ; but independent of this, be- 

 ing ii ;t with the general character of that emi- 

 nent artist, the works of Jordaens executed at an ad- 



Jopp*. 

 Jordaens. 



