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 university of Paris, delivered her over to the Inquisition for trial. After a public examination, begun on the 9th of January and lasting six days, and another conducted in the prison, she was, on the 20th of March, publicly accused as a heretic and witch, and, being in the end found guilty, she made her submission at the scaffold on the 24th of May, and received pardon. She was still, however, the prisoner of the English, and, having been induced by those who had her in charge to resume her male clothes, she was on this account judged to have relapsed, was sentenced to death, and burned at the stake on the streets of Rouen on the 30th of May 1431. In 1436 an impostor appeared, professing to be Joan of Arc escaped from the flames, who succeeded in inducing many people to believe in her statement, but afterwards confessed her imposture. The sentence passed on Joan of Arc was revoked by the pope on the 7th of July 1456, and since then it has been the custom of Catholic writers to uphold the reality of her divine inspiration.

During the latter part of the 19th century a popular cult of the Maid of Orleans sprang up in France, being greatly stimulated by the clerical party, which desired to advertise, in the person of this national heroine, the intimate union between patriotism and the Catholic faith, and for this purpose ardently desired her enrolment among the Saints. On the 27th of January 1894 solemn approval was given by Pope Leo XIII., and in February 1903 a formal proposal was entered for her canonization. The Feast of the Epiphany (Jan. 6), 1904 was made the occasion for a public declaration by Pope Pius X. that she was entitled to the designation Venerable. On the 13th of December 1908 the decree of beatification was published in the Consistory Hall of the Vatican.

As an historical figure, it is impossible to dogmatize concerning the personality of Joan of Arc. The modern clerical view has to some extent provoked what appears, in Anatole France’s learned account, ably presented as it is, to be a retaliation, in regarding her as a clerical tool in her own day. But her character was in any case exceptional. She undoubtedly nerved the French at a critical time, and inspired an army of laggards and pillagers with a fanatical enthusiasm, comparable with that of Cromwell’s Puritans. Moreover, as regards her genuine military qualities we have the testimony of Dunois and d’Alençon; and Captain Marin, in his Jeanne d’Arc, tacticien et stratégiste (1891), takes a high view of her achievements. The nobility of her purpose and the genuineness of her belief in her mission, combined with her purity of character and simple patriotism, stand clear. As to her “supranormal” faculties, a matter concerning which belief largely depends on the point of view, it is to be remarked that Quicherat, a freethinker wholly devoid of clerical influences, admits them (Aperçus nouveaux, 1850), saying that the evidence is as good as for any facts in her history. See also A. Lang on “the voices” in ''Proc. Soc. Psychical Research'', vol. xi.

—For bibliography see Le Livre d’or de Jeanne d’Arc (1894), and A. Molinier, Sources de l’histoire de France (1904). Until the 19th century the history of Joan of Arc was almost entirely neglected; Voltaire’s scurrilous satire La Pucelle, while indicative of the attitude of his time, may be compared with the very fair praises in the Encyclopédie. The first attempt at a study of the sources was that of L’Averdy in 1790, published in the third volume of Mémoires of the Academy of Inscriptions, which served as the base for all lives until J. Quicherat’s great work, Le Procès de Jeanne d’Arc (1841–1849), a collection of the texts so full and so vivid that they reveal the character and life of the heroine with great distinctness. Michelet’s sketch of her work in his Histoire de France, one of the best sections of the history, is hardly more vivid than these sources, upon which all the later biographies (notably that of H. A. Wallon, 1860) are based. See also A. Marty, L’Histoire de Jeanne d’Arc d’après des documents originaux, with introduction by M. Sepet (1907); P. H. Dunand, Jeanne d’Arc et l’église (1908); and especially Andrew Lang, The Maid of France (1908). The Vie de Jeanne d’Arc, by Anatole France (2 vols., 1908), is brilliant and erudite, but in some respects open to charges of inaccuracy and prejudice in its handling of the sources (see the criticism by Andrew Lang in The Times, Lit. Suppl., May 28, 1908). The attempt to establish the reality of the “revelations” and consequently to obtain the canonization of Joan of Arc led the Catholic party in France to publish lives (such as Sepet’s, 1869) in support of their claims. Excellent works worth special mention are: Siméon Luce, Jeanne d’Arc à Domremy; L. Jarry, L’Armée anglaise au siège d’Orleans (1892); J. J. Bourassé, Miracles de Madame Sainte Kathérine de Fierbois (1858, trans. by A. Lang); Boucher de Molandon and A. de Beaucorps, L’Armée anglaise vaincue par Jeanne d’Arc (1892); R. P. Agroles, S.J., La Vraie Jeanne d’Arc. For the “false Pucelle” see A. Lang’s article in his Valet’s Tragedy (1903). Of the numerous dramas and poems of which Joan of Arc has been the subject, mention can only be made of Die Jungfrau von Orleans of Schiller, and of the Joan of Arc of Southey. A drama in verse by Jules Barbier was set to music by C. Gounod (1873).

 JOANES (or ), VICENTE (1506–1579), head of the Valencian school of painters, and often called “the Spanish Raphael,” was born at Fuente de la Higuera in the province of Valencia in 1506. He is said to have studied his art for some time in Rome, with which school his affinities are closest, but the greater part of his professional life was spent in the city of Valencia, where most of the extant examples of his work are now to be found. All relate to religious subjects, and are characterized by dignity of conception, accuracy of drawing, truth and beauty of colour, and minuteness of finish. He died at Bocairente (near Jativa) while engaged upon an altarpiece in the church there, on the 21st of December 1579.

 JOANNA (1479–1555), called the Mad (la Loca), queen of Castile and mother of the emperor Charles V., was the second daughter of Ferdinand and Isabella, king and queen of Spain, and was born at Toledo on the 6th of November 1479. Her youngest sister was Catherine of Aragon, the first wife of Henry VIII. In 1496 at Lille she was married to the archduke Philip the Handsome, son of the German King Maximilian I., and at Ghent, in February 1500, she gave birth to the future emperor. The death of her only brother John, of her eldest sister Isabella, queen of Portugal, and then of the latter’s infant son Miguel, made Joanna heiress of the Spanish kingdoms, and in 1502 the cortes of Castile and of Aragon recognized her and her husband as their future sovereigns. Soon after this Joanna’s reason began to give way. She mourned in an extravagant fashion for her absent husband, whom at length she joined in Flanders; in this country her passionate jealousy, although justified by Philip’s conduct, led to deplorable scenes. In November 1504 her mother’s death left Joanna queen of Castile, but as she was obviously incapable of ruling, the duties of government were undertaken by her father, and then for a short time by her husband. The queen was with Philip when he was wrecked on the English coast and became the guest of Henry VII. at Windsor; soon after this event, in September 1506, he died and Joanna’s mind became completely deranged, it being almost impossible to get her away from the dead body of her husband. The remaining years of her miserable existence were spent at Tordesillas, where she died on the 11th of April 1555. In spite of her afflictions the queen was sought in marriage by Henry VII. just before his death. Nominally Joanna remained queen of Castile until her death, her name being joined with that of Charles in all public documents, but of necessity she took no part in the business of state. In addition to Charles she had a son Ferdinand, afterwards the emperor Ferdinand I., and four daughters, among them being Maria (1505–1558), wife of Louis II., king of Hungary, afterwards governor-general of the Netherlands.

See R. Villa, La Reina doña Juana la Loca (Madrid, 1892); Rösler, Johanna die Wahnsinnige (Vienna, 1890); W. H. Prescott, ''Hist. of Ferdinand and Isabella (1854); and H. Tighe, A Queen of Unrest'' (1907).

 JOANNA I. (c. 1327–1382), queen of Naples, was the daughter of Charles duke of Calabria (d. 1328), and became sovereign of Naples in succession to her grandfather King Robert in 1343. Her first husband was Andrew, son of Charles Robert, king of Hungary, who like the queen herself was a member of the house of Anjou. In 1345 Andrew was assassinated at Aversa, possibly with his wife’s connivance, and at once Joanna married Louis, son of Philip prince of Taranto. King Louis of Hungary then came to Naples to avenge his brother’s death, and the queen took refuge in Provence—which came under her rule at the same time as Naples—purchasing pardon from Pope Clement VI. by selling to him the town of Avignon, then part of her dominions. Having returned to Naples in 1352 after the departure of Louis, Joanna lost her second husband in 1362, and married James, king of