which he upholds and redeems men in nature and in grace that he cannot work without them. They are instruments and means of grace, however, since, ac- cording to an appointment of God, every one who re- ceives the sacrament receives also grace (provided he offers no impediment), but not fiom the sacrament, but from God. He makes use of the illustration that occurs elsewhere of a king who promises to bestow an alms on condition of the receiver bringing a lead- en penny. The sacrament can impart no character tpirUualit, for it Is absurd to suppose that material tilings can efifect such a communication to the spir- it" 5^eander, History of Dogmas, Bohn's ed., ii, 618). On transtd>stitntiation he helped to prepare the way for the Lutheran view. Durand remarks: '*It ap- pears to be a reflection on the divine power to main- tain that the body of Christ cannot be present at the Supper otherwise than by transnbstantiation. The words of the institution also admit the view that the body of Christ was really contained in the sacrament (jCorpus Christi realiter contentum esse in ekmento'). Yet the decision of the Church is contrary, in which we are not allowed to suppose an error" (Neander, 1. c. ; see also Hagenbach, Hist, of DoctrineSj § 196) ; Hoo- fer, Nouv. Bwg. Ghihalcy xv, 481 ; Herzog, Reat-Ency^ Tdop&die, iii, ^&b ; Tennemann, Geschichte der PhilosO' pMe, Letpsic, 1811, voL viii, pt. ii, 808 sq. ; Oudin, De Scriptor. EccUs. iii, 792 sq. ; Haureau, Philosophic Sco- lastique (Paris, 1850, ii, 411 sq.) ; SchrOckh, Kirchen- geschichte, xxx, 898 ; xxxiv, 191 sq.
Diirell, David, D.D., was bom in the Isle of Jer- sey in 1728, and was educated at Oxford, where he was afterwards fellow of Hertford College, and then prin- cipaL In 1764 he took his degree of D.D., and in 1767 was made prebendaiy of Canterbury. He died in 1775. He published The Hebrew Text qfthe parol- Id Prophecies (f Jacob and Moses relating to the twelve Tribes (Oxford, 1764, 4to) x-^Bemarks on Job, Proverbs, Psalms, Ecdesiastes, and Canticles (Oxford, 1772, 4to).— Kippis, Biog. Brittmnica, v, 518.
Dtkrer, Albrbcht, a German painter and engraver, was bom in Nuremberg Hay 20, 147}. When fifteen years of age he was placed by his fiitiier with Michael Wohlgemuth, the leading painter of Nuremberg. With him he remained four years, after which he travelled through Germany and the Netherlands, studying his own art and the collateral branches. In 14£Mt he es- tablished himself permanentiy at Nuremberg, and shortly after married the beautifril daughter of Hans Fritz, a distinguished artisan. The union, on account of the shrewish temper of his wif^ was not a happy one, and, it is thought, even shortened his life. In 1506 Dtirer was enabled, by the aid of his celebrated friend, Wilibald Pirkheimer, to make a journey to Venice, Bologna, and other places of Northern Italy, where he was considerably influenced by the Italian art, especially by the works of Giovanni Bellini With his return to Nuremberg in 1507 began the period of his great celebrity. The emperor Maximilian was one of the first to recognize his merits, and he, as well as his successor, Charles Y, successively appointed Dflrer court painter, while many of the great cities contended for the possession of his works. In 1518 he was at the Diet of Augsburg, where he painted the portraits of many princes and prominent men. In 1520 and 1521 he made a Journey to the Netherlands, where he was received with great honors. He was considerably influenced by the Dutch art, and found fault with his former pictures as being void of that simplicity of nature which now appeared to him as the greatest charm of art The works which he pro- duced under the influence of this changed conception of art exhibit a refinement of the exuberant fancy in which he formerly delighted, and tiie two pictures, in particular, which he produced in 1526, containing figures of the size of life of four apostles, are numbered
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among the greatest works which Christian art has ever produced. Dilrer was an enthusiastic adherent of the Reformation, though it is doubtful if he ever fully 8ei>> arated from the Church of Rome. He died April 6, 1528.
Both as an engraver and as a painter Dtirer belongs among the greatest artists of all ages. His works re- flect the nobility of his character, to which many of his eminent contemporaries, as Melancthon, Camera^ rins, and Pirtcheimer, bear testimony. Though a ten- dency to the fantastic, a peculiarity of old German art, somewhat obstructed the full development of his artis- tic power, especially in his youth, he surpassed all artbts of his age in grandeur of conception. Among the best paintings of D&rer belong the Assumption of the Virgin Mary (1509), which in 1674 was destroyed at the burning of the pedace at Munich ; the exhibition of the Holy Trinity, together with many saints and blessed (1511), now at Vienna ; Adam and Eve, in fig- ures of full size of life (1507), now at Madrid. En- graving he found in its infancy, and carried it to a perfection never since surpassed. Among his best copper-plate engravings belong ''St. Jerome in his Cell," "MeUncholy," and "the Knight, Death, and Devil.'* The most noted of his wood-cuts are the " Greater" and " Lesser Passion," and the "Life of the Virgin." DtLrer also wrote several works in the Ger- man language, which had a great influence, and were translated into Latin and several modem languages. On the tercentenary of his birth the comer-stone of a monument to Dtirer was laid in his native city, Nu- remberg, where his memory has always been held in great veneration. The work was completed by the addition of a bronze statue of the artist by Ranch. See Heller, Ldbm t». Werhe A, D&rert (Leipz. 2 vols.) ; Von Eye, Leben und Werke Albrecht D&rers (N6rdlin- gen, I860) ; H. Grimm, Albrecht DSrer (Berlin, 1866) ; IXirer' Album (Nuremb. 1857); DUren Kup/erttichej Radirungen^ Hokschmtie^ und ZwUmungen (Hanover, 1861) ; Diktn Handadchmmgen^ etc., tn 16 photograph. u.phoU)lUhqgrcg^, Nachbildungm (Vienna, 1864).