The passage is, of course, deceiving in that it would seem that any image
is ipso facto an idol, though Cusanus predicates the whole of De visione
deiupon an exercise which necessarily entails an icon. Jewel never used
the passage in his extant writings. Besides his notations, underlining and
marginalia in Cusanus, there are extensive markings in Bede, Jerome,^55
Eusebius,^56 and Aeneas Sylvius Picolomini (Pius II).^57
Jewel left the most marginalia in his own copy of his 1567 edition of
An Answer in Defence of the Apology of the Church of England(first
edition), pages 94–131, with another extended section on page 149, and
then again on pages 324 and 325. There are other notations in the book
that shall be discussed below.^58 The pages cited contain copious
marginalia, all in Jewel’s very legible hand, though at some places – the
tops of pages and on their edges – the writing is difficult, if not almost
impossible to discern. Apart from these particular pages in this volume,
the marginalia on the other pages and in the other volumes of Jewel’s
library – there are some 35 which contain marginalia – reveal a system
of note taking and transcribing of sections of text from the particular
monograph into notebooks.^59 Jewel’s pervasive writing in the margins of
the 1567 Defence of the Apology, presents something of a puzzle: what
he used it for is rather evident for anyone who would compare what is
in the margins with the second edition of The Defence of the Apology,
for the marginalia is merely the additional text of the expanded 1570
and 1571 editions. Thus where Jewel’s writing, due to time or to the tiny
space in which our prelate tried to squeeze his words, is illegible, it can
be deciphered by comparing the marginalia with the 1570/1571 editions
of Jewel’s work, as the notes were added whole cloth, with at times
minor stylistic changes. This 1567 copy merely served as Jewel’s
‘corrector’s copy for the later edition. The real question is why did Jewel
write out his changes on these pages, while the other corrections and
emendations to the 1570/1571 editions were evidently first written out
some place else, and then added? At several places, Jewel begins his
marginalia on the recto side of the folio (the odd numbered page) and
then continues his marginalia onto the verso of the preceding folio, cf.
111–10, 115–14, 119–18, 121–20, 123–22, 127–26, 128–29, 130–31.
This was done because what he added he wished to keep all on the same
222 JOHN JEWEL AND THE ENGLISH NATIONAL CHURCH
lion, and so a cow as a cow, and an eagle as an eagle. O Lord, how admirable is Your face
which if a youth were to conceive it would figure it as young, a man as mature, and an old
man as aged.’
(^55) Hieronymous,Opera(Basel, 1537). Magdalen shelf mark, e. 12. 10–13.
(^56) Eusebius,Ecclesiastica Historia(Paris, 1544). Magdalen shelf mark, e. 8. 1.
(^57) Aeneas Sylvius Piccolomini, Opera(Basel, 1551). Magdalen shelf mark, I. 17. 1.
(^58) Jewel,A Defence of the Aplogie(London, 1567). Magdalen shelf mark, O. 17. 8.
(^59) Ker ‘Library’, pp. 256–64.
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