As a composer Joachim did but little in his later years, and the works of his earlier life never attained the public success which, in the opinion of many, they deserve (see MUSIC). They undoubtedly have a certain austerity of character which does not appeal to every hearer, but they are full of beauty of a grave and dignified kind; and in such things as his "Hungarian concerto" for his own instrument the utmost degree of difficulty is combined with great charm of melodic treatment. The "romance" in B flat for violin and the variations for violin and orchestra are among his finest things, and the noble overture in memory of Kleist, as well as the scena for mezzo soprano from Schiller's _Demetrius_, show a wonderful degree of skill in orchestration as well as originality of thought. Joachim's place in musical history as a composer can only be properly appreciated in the light of his intimate relations with Brahms, with whom he studiously refrained from putting himself into independent rivalry, and to whose work as a composer he gave the co-operation of one who might himself have ranked as a master. There are admirable portraits of Joachim by G. F. Watts (1866) and by J. S. Sargent (1904), the latter presented to him on the 16th of May 1904, at the celebration of the sixtieth anniversary of his first appearance in England. JOAN, a mythical female pope, who is usually placed between Leo IV. (847-855) and Benedict III. (855-858). One account has it that she was born in England, another in Germany of English parents. After an education at Cologne, she fell in love with a Benedictine monk and fled with him to Athens disguised as a man. On his death she went to Rome under the alias of Joannes Anglicus (John of England), and entered the priesthood, eventually receiving a cardinal's hat. She was elected pope under the title of John VIII., and died in childbirth during a papal procession. A French Dominican, Steven of Bourbon (d. c. 1261) gives the legend in his _Seven Gifts of the Holy Spirit_. He is believed to have derived it from an earlier writer. More than a hundred authors between the 13th and 17th centuries gave circulation to the myth. Its explosion was first seriously undertaken by David Blondel, a French Calvinist, in his _Éclaircissement de la question si une femme a été assise au siège papal de Rome_ (1647); and _De Joanna Papissa_ (1657). The refutation was completed by Johann Dollinger in his _Papstfabeln des Mittelalters_ (1863; Eng. trans. 1872).