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 on-Tyne, 1823. 2. ‘Views on the subject of Corn and Currency,’ Newcastle-on-Tyne, 1826. 3. ‘Views on the Corn Bill of 1827, and other Measures of Government; together with a further Exposition of certain Principles on Corn and Currency before published,’ 1828. 4. ‘An Analysis and History of the Currency Question; together with an Account of the Origin and Growth of Joint-stock Banking in England,’ 1832. 5. ‘A Letter to the Directors of the National Provincial Bank of England,’ 1834. 6. ‘Case for Parliamentary Inquiry into the circumstances of the [Financial] Panic [of 1825], in a Letter, &c.,’ 1835? 7. ‘An Examination of the Report of the Joint-stock Bank Committee,’ 1836. 8. ‘On our Monetary System …; with an Explanation of the Causes by which the Pressures in the Money Market are produced, and a Plan for their Remedy,’ 2nd edit. 1840. 9. ‘The Cause and Cure of our Commercial Embarrassments,’ 1841. 10. ‘An Essay on the Condition of the National Provincial Bank of England, with a view to its Improvement,’ 1843. 11. ‘Currency Reform: Improvement, not Depreciation,’ 1844. 12. ‘An Examination of Sir Robert Peel's Currency Bill of 1844,’ 2nd edit., with supplementary observations, 1845. 13. ‘Circular to the Directors and Managers of the Joint-stock Banks; containing a brief Explanation of the Advantages that would result from the Government adopting as its own the Circulation of all the Banks of Issue in the Three Kingdoms,’ 3rd edit. 1845. 

JOPLING, JOSEPH MIDDLETON (1831–1884), painter, born in 1831, was son of Joseph Jopling, a clerk in the horse guards, Whitehall, and occupied a similar position from the age of seventeen for some years. Though self-taught, he was a clever painter in water-colours, and in 1859 was elected an associate of the New Society of Painters in Water-Colours, but resigned in 1876. Jopling was an active member of the 3rd Middlesex Volunteers, and distinguished himself frequently in the National Rifle competitions at Wimbledon, winning the queen's prize in 1861. He was employed officially to make drawings of the queen reviewing the troops. At the time of the Philadelphia International Exhibition, Jopling acted as director of the fine art section. He was a frequent exhibitor at the Royal Academy and other exhibitions, sending many historical or domestic pictures and also pictures of flowers and fruit. At Liverpool there is a picture by him, ‘Starry Eyes,’ in the permanent collection. Jopling was one of the earliest members of the Arts Club, Hanover Square. He died in December 1884. He married in 1874 Louise Goode (now Mrs. Rowe), herself an artist of distinction, by whom he left one son. 

JORDAN, DOROTHEA or DOROTHY (1762–1816), actress, was born near Waterford, Ireland, in 1762. Her mother, Grace Phillips, is said to have been one of three daughters of the Rev. Dr. Phillips, all of whom took to the stage. Grace Phillips, who appears at one time to have been called Mrs. Frances, was an actress at Smock Alley Theatre, Dublin, where she captivated, and is stated to have married, a Captain Bland. Bland (it is said) was consequently disowned by his family, took to acting, and ultimately agreed to an annulment of his marriage, which was obtained by his father on the ground of nonage. These statements, given in all biographies of Mrs. Jordan, have grave inherent improbability. There is some reason to suppose that Bland, Mrs. Jordan's father, was merely a stage underling. In 1777 she was assistant to a milliner in Dame Street, Dublin, and the same year she appeared at Crow Street Theatre as Phœbe in ‘As you like it.’ Here, or at the theatre in Cork, in which her father is said to have been engaged as scene-shifter, and at Waterford, she played Lopez, a male character in ‘The Governess,’ a pirated version of ‘The Duenna,’ Priscilla Tomboy in ‘The Romp,’ and Adelaide in Captain Jephson's ‘Count of Narbonne.’ Afraid of her manager, Richard Daly [q. v.], a man of infamous reputation, who, after lending her money and rendering her enceinte, strove to get her wholly in his power, she ran off with her mother, brother, and sister to Leeds, where the party arrived poorly clad and almost penniless. Tate Wilkinson, manager of the circuit, recognising in her mother ‘his past Desdemona’ in Dublin in 1758, asked the daughter what she could play, tragedy, comedy, or opera, to which she replied laconically ‘All.’ A few days later, 11 July 1782, under the name of Miss Frances, she appeared as Calista in the ‘Fair Penitent,’ and sang with great success ‘The Greenwood Laddie,’ wearing a frock and a mob-cap. Wilkinson engaged her at fifteen shillings a week. Changing her name to Mrs. Jordan, as suited the matronly condition in which she found herself, she played, in one or other of the various towns comprised in the York circuit, Rutland, The Romp, Arionelli, in which Wilkinson says she was excellent, Rachel in