She also took a keen interest in questions affecting the education, occupations and maintenance of her own sex. Her early essay on _The Relative Social Position of Mothers and Governesses_ was the work of one who knew both sides; and in no respect does she more clearly prove the falseness of the position she describes than in the certainty with which she predicts its eventual reform. To her we owe the first popular enunciation of the principle of male and female co-operation in works of mercy and education. In her later years she took up a succession of subjects all bearing on the same principles of active benevolence and the best ways of carrying them into practice. Sisters of charity, hospitals, penitentiaries, prisons and workhouses all claimed her interest--all more or less included under those definitions of "the communion of love and communion of labour" which are inseparably connected with her memory. To the clear and temperate forms in which she brought the results of her convictions before her friends in the shape of private lectures--published as _Sisters of Charity_ (1855) and _The Communion of Labour_ (1856)--may be traced the source whence later reformers and philanthropists took counsel and courage. Mrs Jameson died on the 17th of March 1860. She left the last of her _Sacred and Legendary Art_ series in preparation. It was completed, under the title of _The History of Our Lord in Art_, by Lady Eastlake. JAMESON (or JAMESONE), GEORGE (c. 1587-1644), Scottish portrait-painter, was born at Aberdeen, where his father was architect and a member of the guild. After studying painting under Rubens at Antwerp, with Vandyck as a fellow pupil, he returned in 1620 to Aberdeen, where he was married in 1624 and remained at least until 1630, after which he took up his residence in Edinburgh. He was employed by the magistrates of Edinburgh to copy several portraits of the Scottish kings for presentation to Charles I. on his first visit to Scotland in 1633, and the king rewarded him with a diamond ring from his own finger. This circumstance at once established Jameson's fame, and he soon found constant employment in painting the portraits of the Scottish nobility and gentry. He also painted a portrait of Charles, which he declined to sell to the magistrates of Aberdeen for the price they offered. He died at Edinburgh in 1644.