LEYDEN
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LEYDEN, SCHOOL OF
Especial mention among his IJiblical works is due to his archffiological treatise entitled Dt Repuhlka Htbneoi-um (Amst. 17U4, thick foh voh ), which is one of the largest repertories ever written on the wide snbject of Hebrew anticiuitics, and exhibits in an eminent degree vast stores of scriptural, rabbinical, and historical learning. Atlded to the interest of the subject are dissertations on the Hebrew laws and customs, both political and relig- ious, interwoven in a historical narrative, in which the sacred history is developed, by epochs, from the earliest period to the latest. The author, in his progress, learn- edly investigates the history, 2}ari passu, of the leading Gentile nations, very much after the manner of Shuck- ford and Russell in their Connections. This valuable work, on which Leydecker's fame deserves mainly to de]iend, is singularly enough ignored in Schweizer's sketch of the author in Herzog (see below-). A com- plete list of his works is to be found in the Unparthei- ische Kirchen-Ilist. A. u. iV. Test., etc., ii, 625. — Herzog, Real-Encyklop. viii, 360 ; Gass, Dor/mengesckkhte, vol. i- iii; Kitto, Cyclop). Bill. Lit. vol. ii, s. v.
Leyden, John of. See Bockiiold.
Leydeu, Lucas van, one of the most celebrated painters of the early Dutch school, noted for his success in sacred art, was born in Leyden in 1494. His talents were early developed in the school of Cornelius Engel- brechsten, an artist of repute in his day. He commenced engraving when scarcely nine years of age. His pic- ture of St. Hubert, painted when ho was only twelve, brought him very high commendation; and the cele- brated print, so well known to collectors by the name of '' ^lohammed and the Monk Sergius," was published in 1508, when he was only fourteen. He practiced suc- cessfully almost every branch of painting, w-as one of the ablest of those early painters who engraved their own works, and he succeeded, like Albert Durer, in im- parting certam qualities of delicacy and finish to his engravings that no mere engraver ever attained. His pictures are noted for clearness and delicacy in color, variety of character, and expression ; but his drawing is hard and Gothic in form. His range of subjects was very wide, and embraced events in sacred history, inci- dents illustrative of the manners of his own period, and portraits. He died in 1533.— Chambers, Cyclop, s. v.
Leyden, School of, Theologians of the, is the name given to that class of Dutch theologians who fol- low in the wake of the rationalistic professors of the University of Leyden (founded in 1575). and of whom J. H. Scholten (in 1840 professor in Franeker, since 1843 in Leyden) and his pupils are at present the main inter- preters. The Leyden school is in reality nothing more nor less than a Dutch Tiibingen school. In his younger days Scholten belonged to the orthodox school, and at one time (1856) even went forth to battle against the negative criticism of Baur and his Tubingen confreres; but in 1864 he came out boldly in defence of the very man and (irinciples he had previously warred against, and in a sliort time became the principal leader in the movement of modern Dutch theologians " to establish a connection between the faith of the Reformers and our own . . . to unite the old traditions with the new opin- ions" (the Rationalism of the Tiibingen theologians). "IVIan," the Leyden school feaches, "arrives at a knowl- eilge of the truth by the holy Scriptures, but they must not be understood as containing the oidy revelation from God; he also reveals himself to the worhl through the hearts of all believers. The Rible is the source of the original religion. There is a dirt'erencc between the Scriptures and tlie word of (iod. The latter is what God reveals in the human sjiirit concerning his will and himself. The writing down of the communication is purely human; therefore the Bible cannot be called a revelation. . . . To prove the certainty of tjie facts of revelation historical criticism must be called in." Un- fortunately, however, with them " historical criticism" means nothing else than the application of that nega-