Chapter XIV: Front Matter (14)

The thirteen or fourteen years of Durer's life between his return from Venice and his journey to the Netherlands (spring 1507-midsummer 1520) can best be divided according to the classes of work with which, during successive divisions of the period, he was principally occupied. The first five years, 1507-1511, are pre-eminently the painting years of his life. In them, working with infinite preliminary pains, as a vast number of extant drawings and studies testify, he produced what have been accounted his four capital works in painting, besides several others of minor importance. The first is the "Adam and Eve" dated 1507, in which both attitudes and proportions are as carefully calculated, though on a somewhat different scheme, as in the engraving of 1504. Two versions of the picture exist, one in Florence at the Pitti palace, the other, which is generally allowed to be the original, at Madrid. To 1508 belongs the life-sized "Virgin with the Iris," a piece remarkable for the fine romantic invention of its background, but plainly showing the hand of an assistant, perhaps Hans Baldung, in its execution: the best version is in the Cook collection at Richmond, an inferior one in the Rudolphinum at Prague. In 1508 Durer returned to a subject which he had already treated in an early woodcut, the "Massacre of the Ten Thousand Martyrs of Nicomedia." The picture, painted for the elector Frederick of Saxony, is now in the Imperial Gallery at Vienna; the overcrowded canvas (into which Durer has again introduced his own portrait as a spectator alongside of the elector) is full of striking and animated detail, but fails to make any great impression on the whole, and does not do justice to the improved sense of breadth and balance in design, of clearness and dignity in composition, which the master had undoubtedly brought back with him from his second visit to Italy. In 1509 followed the "Assumption of the Virgin" with the Apostles gathered about her tomb, a rich altarpiece with figures of saints and portraits of the donor and his wife in the folding wings, executed for Jacob Heller, a merchant of Frankfort, in 1509. This altarpiece was afterwards replaced at Frankfort (all except the portraits of the donors, which remained behind) by a copy, while the original was transported to Munich, where it perished by fire in 1674. The copy, together with the many careful and highly finished preparatory studies for the heads, limbs and draperies which have been preserved, shows that this must have been the one of Durer's pictures in which he best combined the broader vision and simpler habits of design which had impressed him in the works of Italian art with his own inherited and ingrained love of unflinchingly grasped fact and rugged, accentuated character. In 1511 was completed another famous painting, multitudinous in the number of its figures though of very moderate dimensions, the "Adoration of the Trinity by all the Saints," a subject commissioned for a chapel dedicated to All Saints in an almshouse for decayed tradesmen at Nuremberg, and now at the Imperial Gallery at Vienna. Nothing can exceed the fulness and variety of invention, or the searching force and precision of detail in this picture; nor does it leave so much to desire as several of the master's other paintings in point of colour-harmony and pleasurable general effect.

In the meantime Durer had added a few to the number of his line-engravings and had completed the two woodcut series of the Great Passion, begun about 1498-1499, and the Life of the Virgin. The new subjects compared with the old show some falling off in dramatic stress and intensity of expression, but on the other hand a marked gain in largeness of design and clearness of composition. In 1511 these two works were brought out for the first time, and the Apocalypse series in a second edition; and for the next three years, 1511-1514, engraving both on wood and copper, but especially the latter, took the first place among Durer's activities. Besides such fine single woodcuts as the "Mass of St Gregory," the "St Christopher," the "St Jerome," and two Holy Families of 1511, Durer published in the same year the most numerous and popularly conceived of all his woodcut series, that known from the dimensions of its thirty-seven subjects as the "Little Passion" on wood; and in the next year, 1512, a set of fifteen small copper-engravings on the same theme, the "Little Passion" on copper. Both of these must represent the labour of several preceding years: one or two of the "Little Passion" plates, dating back as far as 1507, prove that this series at least had been as long as five years in his mind. In thus repeating over and over on wood and copper nearly the same incidents of the Passion, or again in rehandling them in yet another medium, as in the highly finished series of drawings known as the "Green Passion" in the Albertina at Vienna, Durer shows an inexhaustible variety of dramatic and graphic invention, and is never betrayed into repeating an identical action or motive.

In 1513 and 1514 appeared the three most famous of Durer's works in copper-engraving, "The Knight and Death" (or simply "The Knight," as he himself calls it, 1513), the "Melancolia" and the "St Jerome in his Study" (both 1514). These are the masterpieces of the greatest mind which ever expressed itself in this form of art. Like other masterpieces, they suggest much more than they clearly express, and endless meanings have been, rightly or wrongly, read into them by posterity. Taken together as a group, they have been supposed to be three out of an uncompleted series designed to illustrate the four "temperaments" and complexions of men. Again, more reasonably, they have been taken as types severally of the moral, the intellectual and the theological virtues. The idea at the bottom of the "Knight and Death" seems to be a combination of the Christian knight of Erasmus's _Enchiridion militis Christiani_ with the type, traditional in medieval imagery, of the pilgrim on his way through the world. The imaginative force of the presentation, coming from a man of Durer's powers, is intense; but what consciously occupied him most may well have been the problem how to draw accurately the proportions and action of a horse in motion. This problem he here solves for the first time, with the help of an Italian example: at least his design so closely repeats that of Leonardo da Vinci's famous and early destroyed equestrian statue of Francesco Sforza that we must certainly suppose him to have seen either the model itself or such a drawing of it as is still preserved by Leonardo's own hand. The face of the rider seems to recall that of the statue of Bartolommeo Colleoni at Venice; for the armour Durer had recourse to an old drawing of his own, signed and dated in 1498. The "Melancolia," numbered "1" as though intended to be the first of a series, with its brooding winged genius sitting dejectedly amidst a litter of scientific instruments and symbols, is hard to interpret in detail, but impossible not to recognize in general terms as an embodiment of the spirit of intellectual research (the student's "temperament" was supposed to be one with the melancholic), resting sadly from its labours in a mood of lassitude and defeat. Comparatively cheerful beside these two is the remaining subject of the student saint reading in his chamber, with his dog and domestic lion resting near him, and a marvellous play of varied surface and chequered light on the floor and ceiling of his apartment and on all the objects which it contains. Besides these three masterpieces of line-engraving, the same years, 1512-1515, found Durer occupied with his most important experiments in etching, both in dry-point ("The Holy Family and Saints" and the "St Jerome in the Wilderness") and with the acid bath. At the same time he was more taken up than ever, as is proved by the contents of a sketch-book at Dresden, with mathematical and anatomical studies on the proportions and structure of the human frame. A quite different kind of study, that of the postures of wrestlers in action, is illustrated by a little-known series of drawings, still of the same period, at Vienna. Almost the only well-authenticated painting of the time is a "Virgin and Child" in the Imperial Museum at Vienna. The portraits of the emperors Charles the Great and Sigismund (1512), in their present state at any rate, can hardly be recognized as being by the master's hand. An interval of five years separates the Vienna "Madonna" from the two fine heads of the apostles Philip and James in the Uffizi at Florence, the pair of boys' heads painted in tempera on linen in the Bibliotheque Nationale at Paris, the "Madonna with the Pink" at Augsburg, and the portrait of Wolgemut at Munich, all of 1516. Among engravings of the same time are three Madonnas, the apostles Thomas and Paul, a bagpiper and two peasants dancing, and three or four experiments in etching on plates of iron and zinc. In wood-engraving his energies were almost entirely given to bearing a part--which modern research has proved to have been not nearly so large as was traditionally supposed--in the great decorative schemes commanded by the Emperor Max in his own honour, and devised and carried out by a whole corps of men of letters and artists: namely, the Triumphal Gate and the Triumphal March or Procession. A third and smaller commemorative design, the Triumphal Car, originally designed to form part of the second but in the end issued separately, was entirely Durer's own work. A far more successful and attractive effort of his genius in the same service is to be found in the marginal decorations done by him in pen for the emperor's prayer-book. This unequalled treasure of German art and invention has in later times been broken up, the part executed by Durer being preserved at Munich, the later sheets, which were decorated by other hands, having been transported to Besancon. Durer's designs, drawn with the pen in pale lilac, pink and green, show an inexhaustible richness of invention and an airy freedom and playfulness of hand beyond what could be surmised from the sternness of those studies which he made direct from life and nature. They range from subjects of the homeliest and most mirthful realism to others serious and devout, and from literal or almost literal transcripts of natural form to the most whimsically abstract combinations of linear pattern and tendril and flourish.

All these undertakings for his imperial friend and patron were stopped by the emperor's death in 1519. A portrait-drawing by the master done at Augsburg a few months previously, one of his finest works, served him as the basis both of a commemorative picture and a woodcut. Other paintings of this and the succeeding year we may seek for in vain; but in line engravings we have four more Madonnas, two St Christophers, one or two more peasant subjects, the well-known St Anthony with the view of Nuremberg in the background, and the smaller of the two portraits of the Cardinal-Elector of Mainz; and in wood-engraving several fine heraldic pieces, including the arms of Nuremberg.

In the summer of 1520 the desire of Durer to secure from Maximilian's successors a continuance of the patronage and privileges granted during his lifetime, together with an outbreak of sickness in Nuremberg, gave occasion to the master's fourth and last journey from home. Together with his wife and her maid he set out in July for the Netherlands in order to be present at the coronation of the young emperor Charles V., and if possible to conciliate the good graces of the all-powerful regent Margaret. In the latter part of his aim Durer was but partially successful. His diary of his travels enables us to follow his movements almost day by day. He journeyed by the Rhine, Cologne, and thence by road to Antwerp, where he was handsomely received, and lived in whatever society was most distinguished, including that of Erasmus of Rotterdam. Besides his written notes, interesting traces of his travels exist in the shape of the scattered leaves of a sketch-book filled with delicate drawings in silver-point, chiefly views of places and studies of portrait and costume. Several of his finest portrait-drawings in chalk or charcoal, including those of his brother artists Lucas Van Leyden and Bernard Van Orley, as well as one of two fine portrait paintings of men, belong to the period of this journey. So does a magnificent drawing of a head of a nonagenarian with a flowing beard who sat to him at Antwerp, together with a picture from the same head in the character of St Jerome; the drawing is now at Vienna, the picture at Lisbon. Durer's interest and curiosity, both artistic and personal, were evidently stimulated by his travels in the highest degree. Besides going to Aachen for the coronation, he made excursions down the Rhine from Cologne to Nijmwegen, and back overland by 's Hertogenbosch; to Brussels; to Bruges and Ghent; and to Zealand with the object of seeing a natural curiosity, a whale reported ashore. The vivid account of this last expedition given in his diary contrasts with the usual dry entries of interviews and disbursements. A still more striking contrast is the passionate outburst of sympathy and indignation with which, in the same diary, he comments on the supposed kidnapping of Luther by foul play on his return from the diet of Worms. Without being one of those who in his city took an avowed part against the old ecclesiastical system, and probably without seeing clearly whither the religious ferment of the time was tending--without, that is, being properly speaking a Reformer--Durer in his art and his thoughts was the incarnation of those qualities of the German character and conscience which resulted in the Reformation; and, personally, with the fathers of the Reformation he lived in the warmest sympathy.

On the 12th of July 1521 Durer reached home again. Drawings of this and the immediately following years prove that on his return his mind was full of schemes for religious pictures. For a great group of the Madonna surrounded with saints there are extant two varying sketches of the whole composition and a number of finished studies for individual heads and figures. Less abundant, but still sufficient to prove the artist's intention, are the preliminary studies to a picture of the Crucifixion. There exist also fine drawings for a "Lamentation over the body of Christ," an "Adoration of the Kings," and a "March to Calvary"; of the last-named composition, besides the beautiful and elaborate pen-and-ink drawing at Florence, three still more highly-wrought versions in green monochrome exist; whether any of them are certainly by the artist's own hand is matter of debate. But no religious paintings on the grand scale, corresponding to these drawings of 1521-1524, were ever carried out; perhaps partly because of the declining state of the artist's health, but more because of the degree to which he allowed his time and thoughts to be absorbed in the preparation of his theoretical works on geometry and perspective, proportion and fortification. Like Leonardo, but with much less than Leonardo's genius for scientific speculation and divination, Durer was a confirmed reasoner and theorist on the laws of nature and natural appearances. He himself attached great importance to his studies in this kind; his learned friends expected him to give their results to the world; which accordingly, though having little natural gift or felicity in verbal expression, he laboured strenuously to do. The consequence was that in the last and ripest years of his life he produced as an artist comparatively little. In painting there is the famous portrait of Hieronymus Holtzschuher at Berlin, in which the personality and general aspect of the sitter assert themselves with surprising power. This and the Antwerp head of Jerome are perhaps the most striking examples of Durer's power of forcing into subordination to a general impression such a multiplicity of insistent detail as would have smothered any weaker conception than his. No other hand could have ventured to render the hair and beard of a sitter, as it was the habit of this inveterate linearist to do, not by indication of masses, but by means of an infinity of single lines swept, with a miraculous certainty and fineness of touch, in the richest and most intricate of decorative curves. To the same period belong a pleasing but somewhat weak "Madonna and Child" at Florence; and finally, still in the same year 1526, the two famous panels at Munich embodying the only one of the great religious conceptions of the master's later years which he lived to finish. These are the two pairs of saints, St John with St Peter in front and St Paul with St Mark in the background. The John and Paul are conceived and executed really in the great style, with a commanding nobility and force alike in the character of the heads, the attitudes, and the sweep of draperies; they represent the highest achievement of early German art in painting. In copper-engraving Durer's work during the same years was confined entirely to portraits, those of the cardinal-elector of Mainz ("The Great Cardinal"), Frederick the Wise, elector of Saxony, Willibald Pirkheimer, Melanchthon and Erasmus. To the tale of his woodcuts, besides a few illustrations to his book on measurements (that is, geometry and perspective), and on fortification, he only added one Holy Family and one portrait, that of his friend Eoban Hesse. Of his theoretical books, he only succeeded in getting two finished and produced during his lifetime, that on geometry and perspective or measurement, to use his own title--which was published at Nuremberg in 1525, and that on fortification, published in 1527; the work on human proportions was brought out shortly after his death in 1528. His labours, whether artistic or theoretic, had for some time been carried on in the face of failing health. In the canals of the Low Countries he had caught a fever, of which he never shook off the effects. We have the evidence of this in his own written words, as well as in a sketch which he drew to indicate the seat of his suffering to some physician with whom he was in correspondence, and again in the record of his physical aspect which is preserved by a portrait engraved on wood just after his death, from a drawing made no doubt not long before in this portrait we see his shoulders already bent, the features somewhat gaunt, the old pride of the abundant locks shorn away. The end came on the night of the 6th of April 1528, so suddenly that there was no time to call his dearest friends to his bedside. He was buried in a vault which belonged to his wife's family, but was afterwards disturbed, in the cemetery of St John at Nuremberg. An appropriate _Requiescat_ is contained in the words of Luther, in a letter written to their common friend Eoban Hesse:--"As for Durer, assuredly affection bids us mourn for one who was the best of men, yet you may well hold him happy that he has made so good an end, and that Christ has taken him from the midst of this time of trouble and from greater troubles in store, lest he, that deserved to behold nothing but the best, should be compelled to behold the worst. Therefore may he rest in peace with his fathers: Amen."

The principal extant paintings of Durer, with the places where they are to be found, have been mentioned above. Of his drawings, which for students are the most vitally interesting part of his works, the richest collections are in the Albertina at Vienna, the Berlin Museum and the British Museum. The Louvre also possesses some good examples, and many others are dispersed in various public collections, as in the Musee Bonnat at Bayonne, at Munich, Hamburg, Bremen, Frankfort, Dresden, Basel, Milan, Florence and Oxford, as well as in private hands all over Europe.

The principal editions of Durer's theoretical writings are these:--

_Geometry and Perspective._--_Underweysung der Messung mit dem Zirckel
und Richtscheyt, in Linien, Ebnen und ganzen Corporen_ (Nuremberg,
1525, 1533, 1538). A Latin translation of the same, with a long title
(Paris, Weichel, 1532) and another ed. in 1535. Again in Latin, with
the title _Institutionum geometricarum libri quatuor_ (Arnheim, 1605).

_Fortification._--_Etliche Underricht zu Befestigung der Stett,
Schloss und Flecken_ (Nuremberg, 1527), and other editions in 1530,
1538 and 1603 (Arnheim). A Latin translation, with the title _De
urbibus, arcibus, castellisque muniendis ac condendis_ (Paris,
Weichel, 1535). See the article FORTIFICATION.

_Human Proportion._--_Hierinnen sind begriffen vier Bucher von
menschlicher Proportion_ (Nuremberg, 1582, and Arnheim, 1603). Latin
translation: _De symetria partium in rectis formis humanorum corporum
libri in latinum conversi, de varietate figurarum, &c. libri ii._
(Nuremberg, 1528, 1532 and 1534); (Paris, 1535, 1537, 1557). French
translation (Paris, 1557, Arnheim, 1613, 1614). Italian translation
(Venice, 1591, 1594); Portuguese translation (1599); Dutch translation
(Arnheim, 1622, 1662).

The private literary remains of Durer, his diary, letters, &c., were
first published, partially in Von Murr's _Journal zur Kunstgeschichte_
(Nuremberg, 1785-1787); afterwards in Campe's _Reliquien von A. Durer_
(Nuremberg, 1827); again edited by Thausing, in the _Quellenschriften
fur Kunstgeschichte und Kunsttechnik_ (Vienna, 1872), but most
completely in Lange and Fuhse's _Durers schriftlicher Nachlass_
(Halle, 1893); W.M. Conway's _Literary Remains of A. Durer_ (London,
1889) contains extensive transcripts from the MSS. in the British
Museum.

The principal remaining literature of the subject will be found in the
following books and treatises--Johann Neudorfer, Schreib- und
Rechenmeister zu Nurnberg, _Nachrichten uber Kunstlern und Werkleuten
daselbst_ (Nuremberg, 1547); republished in the Vienna
_Quellenschrift_ (1875); C. Scheurl, _Vita Antonii Kressen_ (1515,
reprinted in the collection of Pirkheimer's works, Frankfort 1610);
Wimpheling, _Epitome rerum Germanicarum_, ch. 68 (Strassburg, 1565);
Joachim von Sandrart, _Deutsche Academie_ (Nuremberg, 1675);
Doppelmayr, _Historische Nachricht von den nurnbergischen Mathematicis
und Kunstlern_ (Nuremberg, 1730); C.G. von Murr, _Journal zur
Kunstgeschichte_, as above; Adam Bartsch, _Le Peintre-Graveur_, vol.
vii. (Vienna, 1808); J.P. Passavant, _Le Peintre-Graveur_, vol. iii.
(Leipzig, 1842); J.F. Roth, _Leben Albrecht Durers_ (Leipzig, 1791);
Heller, _Das Leben und die Werke Albrecht Durers_, vol. ii. (Bamberg,
1827-1831); B. Hausmann, _Durers Kupferstiche, Radirungen,
Holzschnitte und Zeichnungen_ (Hanover, 1861); R. von Rettberg,
_Durers Kupferstiche und Holzschnitte_ (Munich, 1876); M. Thausing,
_Durer, Geschichte seines Lebens und seiner Kunst_ (Leipzig, 1876, 2nd
ed., 1884), English translation (from the 1st ed. by F.A. Eaton,
London, 1882); W. Schmidt in Dohme's _Kunst und Kunstler des
Mittelalters und der Neuzeit_ (Leipzig, 1877); _Oeuvre de Albert Durer
reproduit et publie par Amand-Durand, texte par Georges Duplessis_
(Paris, 1877); C. Ephrussi, _A. Durer et ses dessins_ (Paris, 1882);
F. Lippmann, _Zeichnungen von A. Durer in Nachbildungen_ (5 vols.
Berlin, 1883-1905); A. Springer, _Albrecht Durer_ (Berlin, 1892); D.
Burckhardt, _Durers Aufenthalt in Basel_, 1492-1494 (Munich, 1892); G.
von Terey, _A Durers venezianischer Aufenthalt_, 1494-1495
(Strassburg, 1892); S.R. Koehler, _A Chronological Catalogue of the
Engravings, Dry Points and Etchings of A. Durer_ (New York, 1894); L.
Cust, _A. Durer, a Study of his Life and Works_ (London, 1897); Durer
Society's Publications (10 vols., 1898-1907), edited by C. Dodgson and
S.M. Peartree; H. Knackfuss, _Durer_ (Bielefeld and Leipzig, 6th ed.,
1899), English translation, 1900; B. Haendcke, _Die Chronologie der
Landschaften A. Durers_ (Strassburg, 1899); M. Zucker, _Albrecht
Durer_ (Halle, 1899-1900); L. Justi, _Konstruierte Figuren und Kopfe
unter den Werken Albrecht Durers_ (Leipzig, 1902); A. Pelzer, _A.
Durer und Friedrich II. von der Pfalz_ (Strassburg, 1905); H.
Wolfflin, _Die Kunst A. Durers_ (Munich, 1905); W. Weisbach, _Der
junge Durer_ (Leipzig, 1906); V. Scherer, _A. Durer_ (_Klassiker der
Kunst_, iv.), (2nd ed., Stuttgart, 1906).

Apart from books, a large and important amount of the literature on
Durer is contained in articles scattered through the leading art
periodicals of Germany, such as the _Jahrbucher_ of the Berlin and
Vienna museums, _Repertorium fur Kunstwissenschaft_, _Zeitschrift fur
bildende Kunst_, &c. A comprehensive survey of this literature is
afforded by Prof. H.W. Singer's _Versuch einer Durer-Bibliographie_
(Strassburg, 1903); articles published more recently will be found
completely enumerated in A. Jellinek's _Internationale Bibliographie
der Kunstwissenschaft_ (Berlin). (S. C.)

DURESS (through Fr. from Lat. _duritia_, harshness, severity, _durus_, hard), in law, constraint or compulsion. Duress may be of two kinds. It may consist in personal restraint or actual violence or imprisonment; or it may be by threats (_per minas_), as where a person is compelled to an act by threats of immediate death or grievous bodily harm. Duress, in certain cases, may be pleaded as a defence of an act which would otherwise be a crime, but the extent to which the plea of duress can be urged is unascertained. At common law a contract entered into under duress is voidable at the option of one of the parties. See COERCION, CONTRACT.

D'URFEY, THOMAS (1653-1723), better known as Tom d'Urfey, English song-writer and dramatist, belonged to a Huguenot family settled at Exeter, where he was born in 1653. Honore d'Urfe, the author of _Astree_, was his uncle. His first play, _The Siege of Memphis, or the Ambitious Queen_, a bombastic rhymed tragedy, was produced at the Theatre Royal in 1676. He was much more successful with his comedies, which had brisk, complicated plots carried out in lively dialogue. He had a light touch for fitting words on current topics to popular airs; moreover, many of his songs were set to music by his friends Dr John Blow, Henry Purcell and Thomas Farmer. Many of these songs were introduced into his plays. Addison in the _Guardian_ (No. 67) relates that he remembered to have seen Charles II. leaning on Tom d'Urfey's shoulder and humming a song with him. Even William III. liked to hear him sing his songs, and as a strong Tory he was sure of the favour of Princess Anne, who is said to have given Tom fifty guineas for a song on the Electress Sophia, the next heir in succession to the crown. "The crown's far too weighty, for shoulders of eighty," said d'Urfey, with an indirect compliment to the princess, "So Providence kept her away,--poor old Dowager Sophy." Pope, in an amusing letter to Henry Cromwell (_Works_, ed. Elwin and Courthope, vi. 91) describes him as "the only poet of tolerable reputation in this country." In spite of the success of his numerous comedies he was poor in his old age. But his gaiety and invincible good humour had made him friends in the craft, and by the influence of Addison his _Fond Husband, or The Plotting Sisters_ was revived for d'Urfey's benefit at Drury Lane on the 15th of June 1713. This performance, for which Pope wrote a prologue full of rather faint praise, seems to have eased the poet's difficulties. He died on the 26th of February 1723, and was buried in St James's Church, Piccadilly.

Collections of his songs with the music appeared during his lifetime,
the most complete being the 1719-1720 edition (6 vols.) of _Wit and
Mirth; or Pills to Purge Melancholy_. The best known of the
twenty-nine pieces of his which actually found their way to the stage
were _Love for Money; or The Boarding School_ (Theatre Royal, 1691),
_The Marriage-Hater Match'd_ (1692), and _The Comical History of Don
Quixote_, in three parts (1694, 1694 and 1696), which earned the
especial censure of Jeremy Collier. In his burlesque opera, _Wonders
in the Sun; or the Kingdom of the Birds_ (1706, music by G.B.
Draghi), the actors were dressed as parrots, crows, &c.

DURFORT, a village of south-western France, formerly in the province of Guienne, now in the department of Tarn-et-Garonne, 18 m. N.W. of Montauban by road. It was at one time the seat of a feudal lordship which gave its name to a family distinguished in French and English history. Though earlier lords are known, the pedigree of the family is only clearly traceable to Arnaud de Durfort (fl. 1305), who acquired the fief of Duras by his marriage with a niece of Pope Clement V. His descendant, Gaillard de Durfort, having embraced the side of the king of England, went to London in 1453, and was made governor of Calais and a knight of the Garter.

The greatness of the family dates, however, from the 17th century. Guy Aldonce (1605-1665), marquis de Duras and comte de Rozan, had, by his wife Elizabeth de la Tour d'Auvergne, sister of Marshal Turenne, six sons, three of whom played a distinguished part. The eldest, Jacques Henri (1625-1704), was governor of Franche Comte in 1674 and was created a marshal of France for his share in the conquest of that province (1675). The second, Guy Aldonce (1630-1702), comte de Lorges and duc de Quintin (known as the duc de Lorges), became a marshal of France in 1676, commanded the army in Germany from 1690 to 1695, and captured Heidelberg in 1693. The sixth son, Louis (1640?-1709), marquis de Blanquefort, came to England in the suite of James, duke of York, in 1663, and was naturalized in the same year. On the 19th of January 1672-1673 he was raised to the English peerage as Baron Duras of Holdenby, his title being derived from an estate in Northamptonshire bought from the duke of York, and in 1676 he married Mary, daughter and elder co-heiress of Sir George Sondes, created in that year Baron Throwley, Viscount Sondes and earl of Feversham. On the death of his father-in-law (16th of April 1677), Duras succeeded to his titles under a special remainder. He was appointed by Charles II. successively to the command of the third and second troops of Horse Guards, was sent abroad on several important diplomatic missions, and became master of the horse (1679) and lord chamberlain to the queen (1680). In 1682 he was appointed a lord of the bed-chamber, and was present at the king's deathbed reconciliation with the Roman Church. Under James II. Feversham became a member of the privy council, and in 1685 was given the chief command against the rebels under Monmouth (q.v.), in which he mainly distinguished himself by his cruelty to the vanquished. He was rewarded with a knighthood of the Garter and the colonelcy of the first troop of Life Guards, and in 1686 he was appointed to the command of the army assembled by King James on Blackheath to overawe the people. On James's flight, Feversham succeeded in making his peace with William, on the intercession of the queen dowager, at whose instance he received the mastership of the Royal Hospital of St Catherine near the Tower (1698). He died without issue on the 8th of April 1709. [See G.E. C(ockayne), _Complete Peerage_, and art. in _Dict. Nat. Biog._]

Jean Baptiste (1684-1770), due de Duras, son of Jacques Henri, was also a marshal of France. In 1733 he resigned the dukedom of Duras to his son, Emmanuel Felicite, himself receiving the brevet title of duc de Durfort. Emmanuel Felicite (1715-1789), duc de Duras, took part in all the wars of Louis XV. and was made a marshal of France in 1775. His grandson, Amedee Bretagne Malo (1771-1838), duc de Duras, is mainly known as the husband of Claire Louise Rose Bonne de Coetnempren de Kersaint (1778-1828), daughter of Armand Guy Simon de Coetnempren Kersaint (q.v.), who, as duchesse de Duras, presided over a once celebrated salon and wrote several novels once widely read.

The family of Durfort is represented in France now by the branch of Durfort-Civrac, dating from the 16th century. Jean Laurent (1740-1826), marquis de Civrac, married his cousin, the daughter of the duc de Lorges; his son, Guy Emeric Anne (1767-1837), duc de Civrac, became afterwards duc de Lorges. Henri, marquis de Durfort-Civrac (1812-1884), was a well-known politician, and was several times elected vice-president of the chamber of deputies.

DURGA, or DEVI (Sanskrit for inaccessible), in Hindu mythology, the wife of Siva (q.v.) and daughter of Himavat (the Himalayas). She has many names and many characters. As Durga (so named from having slain the demon Durga) she is warlike and ferocious, and to her in this form are offered bloody sacrifices, and such ceremonies as the Durgapuja and Churrukpuga are held in her honour (see KALI). The chief festival in Bengal--sometimes termed the Christmas of Bengal--celebrates the goddess's birth in the sixth Hindu month (parts of September and October). Durga is pictured, in spite of her fierce nature, with a gentle face. She has ten arms, holding each a weapon, while her attendant lions and giants are grouped on each side.

DURHAM, JOHN GEORGE LAMBTON, 1ST EARL OF (1792-1840), English statesman, son of William Henry Lambton of Lambton Castle, Durham, was born in London on the 12th of April 1792. His mother was Anne Barbara Villiers, daughter of the 4th earl of Jersey. Lambton was only five years old when by his father's death at Pisa (1797) he succeeded to large estates in the north of England which had been in the uninterrupted possession of his family since the 12th century. In 1805 he went to Eton, and in 1809 obtained a commission in the 10th Hussars. In 1812, while still a minor, he made a runaway match with Henrietta, natural daughter of Lord Cholmondeley, whom he married at Gretna Green, and who died in 1815. In 1813 he was elected to the House of Commons as member for the county of Durham. Whig principles of a pronounced type were traditional in Lambton's family. His grandfather, General John Lambton, had refused a peerage in 1793 out of loyalty to Fox, and his father was not only one of Pitt's keenest opponents, but was chairman of "The Friends of the People" and author of that society's address to the nation in 1792. Lambton adhered to this tradition, and soon developed opinions of an extremely Radical type, which he fearlessly put forward in parliament and in the country with marked ability. His maiden speech in the House of Commons was directed against the foreign policy of Lord Liverpool's government, who had sanctioned, and helped to enforce, the annexation of Norway by Sweden. In 1815 he vehemently opposed the corn tax, and in general began to take a prominent part in opposition to the Tories. In 1816 he made the acquaintance of Lafayette in Paris, and narrowly escaped arrest for alleged complicity in his escape. In 1817 he began to speak on every opportunity in favour of parliamentary reform.

His political position was strengthened by his marriage in December 1816 to Louisa Elizabeth, eldest daughter of Lord Grey, and as early as 1818 he was taken into the political confidence of his father-in-law and other leaders of the Whigs in matters touching the leadership and policy of the party. But from the first Lambton belonged to the avowedly Radical wing of the party, with whose aims Grey had little sympathy; and when he gave notice of a resolution in 1819 in favour of shortening the duration of parliaments, and of a wide extension of the franchise, he found himself discountenanced by old Whigs like Grey, Holland and Fitzwilliam. Having warmly espoused the cause of Queen Caroline, Lambton ably seconded Lord Tavistock's resolution in February 1821 censuring the government for their conduct towards the queen; and in April he made his first great speech in the House of Commons on parliamentary reform, when he proposed a scheme for the extension of the suffrage to all holders of property, the division of the country into electoral districts and the disfranchisement of rotten boroughs. He was now one of the recognized leaders of the advanced Liberals, forming a connecting link between the aristocratic Whig leaders and the irresponsible and often violent politicians of the great towns. His opposition to those members of his party who in 1825 were prepared for compromise on the question of Catholic emancipation led to his first conflict with Brougham, with whom he had been on terms of close friendship. While supporting the candidature of his brother-in-law, Lord Howick, for Northumberland in the elections of 1826, Lambton fought a duel with T.W. Beaumont, the Tory candidate, but without bloodshed on either side. Unlike his father-in-law, Lambton supported the ministry of Canning, though he had some grounds for personal grievance against the new prime minister, and after Canning's death that of Lord Goderich. On the advice of the latter Lambton was raised to the peerage in 1828 with the title of Baron Durham. Owing to his Liberal principles Lord Durham was on terms of friendship with the duke of Sussex, and also with Prince Leopold of Saxe-Coburg, who sought his advice in the difficult crisis in 1829 when he was offered the throne of Greece, and who, after he became king of the Belgians as Leopold I., continued to correspond with Durham as a trusted confidant; the same confidential relations also existed between Durham and Leopold's sister, the duchess of Kent, and her daughter, afterwards Queen Victoria.

In November 1830 when Grey became prime minister in succession to the duke of Wellington, Lord Durham entered the cabinet as lord privy seal. Parliamentary reform was in the forefront of the new government's policy, and with this question no statesman except Lord Grey himself was more closely indentified than Durham. To ardent reformers in the country the presence in the cabinet of "Radical Jack," the name by which Lambton had been popularly known in the north of England, was a pledge that thorough-going reform would not be shirked by the Whigs, now in office for the first time for twenty years. And it was to his son-in-law that Lord Grey confided the task of preparing a scheme to serve as the basis of the proposed legislation. Full justice has not generally been done to the leading part played by Lord Durham in preparing the great Reform Act. He was the chief author of the proposals which, after being defeated in 1831, became law with little alteration in 1832. He was chairman of the famous committee of four, which met at his house in Cleveland Row and drew up the scheme submitted by the government to parliament. His colleagues, who were appointed rather as his assistants than as his equals, were Lord John Russell, Sir James Graham and Lord Duncannon; and it was Durham who selected Lord John Russell, not then in the cabinet, to introduce the bill in the House of Commons; a selection that was hotly opposed by Brougham, whose later vindictive animosity against Durham is to be traced to his having been passed over in the selection of the committee of four. Durham was present with Grey at an audience of the king which led to the sudden dissolution of parliament in March 1831; and when the deadlock between the two Houses occurred over the second Reform Bill, he was the most eager in pressing on the prime minister the necessity for a creation of peers to overcome the resistance of the house of Lords.

After the passing of the Reform Act, Durham, whose health was bad and who had suffered the loss of two of his children, accepted a special and difficult diplomatic mission to Russia, which he carried out with much tact and ability, though without accomplishing its main purpose. On his return he resigned office in March 1833, ostensibly for reasons of health, but in reality owing to his disagreement with the government's Irish policy as conducted by Lord Stanley; in the same month he was created earl of Durham and Viscount Lambton. His advanced opinions, in the assertion of which he was too little disposed to consider the convictions of others, gradually alienated the more moderate of his late colleagues, such as Melbourne and Palmerston, and even Lord Grey often found his son-in-law intractable and self-assertive; but the growing hostility of the treacherous Brougham was mainly due to Durham's undoubted popularity in the country, where he was regarded by many, including J.S. Mill, as Grey's probable successor in the leadership of the Liberal party. Durham was at this time courted by the youthful Disraeli, who, when Melbourne became prime minister in succession to Grey in 1834, declared that the Whigs could not exist as a party without Lord Durham. Brougham's animosity became undisguised at the great banquet given to Lord Grey at Edinburgh in September 1834, where he made a venomous attack on Durham, repeated shortly afterwards at Salisbury, and anonymously in the _Edinburgh Review_. On the other hand the strength of Durham's position in the country was shown on the occasion of his visit to Glasgow in October to receive the freedom of the city, when a concourse of more than a hundred thousand persons assembled to hear him speak at Glasgow Green, and where he replied to Brougham's attacks at a great banquet held in his honour. Brougham had over-reached himself; and although Durham was no favourite with William IV., the king's disgust with the lord chancellor was one of the principal reasons for his summary dismissal of the Whig ministry in 1834. When Melbourne returned to power after Peel's short administration, Durham's radicalism and impatient temper excluded him from the cabinet; and again in 1837, on his return from an appointment as ambassador extraordinary in St Petersburg (1835-1837), when there was some idea of his joining the ministry, Lord John Russell wrote: "Everybody, after the experience we have had, must doubt whether there can be peace or harmony in a cabinet of which Lord Durham is a member."

In July 1837 he resisted the entreaty of Lord Melbourne that he should undertake the government of Canada, where the condition of affairs had become alarming; but a few months later, giving way to the urgent insistence of the prime minister who promised him "the firmest and most unflinching support" of the government, he accepted the post of governor-general and lord high commissioner, with the almost dictatorial powers conferred on him by an act passed in February 1838, by which the constitution of Lower Canada was suspended for two years. Having secured the services of Charles Buller (q.v.) as first secretary, and having with more doubtful wisdom appointed Thomas Turton and Edward Gibbon Wakefield (q.v.) to be his unofficial assistants, Durham arrived at Quebec on the 28th of May 1838. Papineau's rebellion had been quelled, but the French Canadians were sullen, the attitude of the United States equivocal, and the general situation dangerous, especially in the Lower Province where government was practically in abeyance. Durham at once issued a conciliatory proclamation. His next step was to dismiss the executive council of his predecessor and to appoint a new one consisting of men uncommitted to any existing faction, a step much criticized at home but generally commended on the spot. On the 28th of June, the day of Queen Victoria's coronation, he issued a proclamation of amnesty, from the benefit of which eight persons only of those who had taken part in the rebellion were excepted; while an accompanying ordinance provided for the transference of these eight excepted persons from Montreal to Bermuda, where they were to be imprisoned without trial. Papineau and fifteen other fugitives were forbidden on pain of death to return to Canada. In a letter of congratulation to the queen, Durham took credit for the clemency of his policy towards the rebels, and it was defended on the same ground by Charles Buller and by public opinion in the colony.

In England, however, as soon as these proceedings became known, Brougham seized the opportunity for venting his malice against both Durham and the ministry. He had already raised objections to the appointment of Turton and Wakefield; he now attacked the ordinance in the House of Lords, challenging the legality of the clause transporting prisoners to Bermuda, where Durham had no jurisdiction. Melbourne and his colleagues, with the honourable exception of Lord John Russell, made little effort to defend the public servant to whom they had promised "the most unflinching support"; and, although both the prime minister and the colonial secretary when first fully informed of the governor-general's proceedings had hastened to assure him of their "entire approval," three weeks later, cowed by Brougham's malignant invective, they disallowed the ordinance, and carried an Act of Indemnity the terms of which were insulting to Durham. The latter immediately resigned; but before returning to England he put himself in the wrong by issuing a proclamation in which he not only justified his own conduct in detail, but made public complaint of his grievances against the ministers of the Crown, a step that alienated much sympathy which his unjust treatment by the government would otherwise have called forth, though it was defended by men like Charles Buller and J.S. Mill. The usual official honours given to a returning plenipotentiary were not accorded to Durham on his arrival at Plymouth on the 30th of November 1838, but the populace received him with acclamation. He immediately set about preparing his memorable "Report on the Affairs of British North America," which was laid before parliament on the 31st of January 1839. This report, one of the greatest state papers in the English language, laid down the principles, then unrecognized, which have guided British colonial policy ever since. It was not written or composed by Charles Buller, as Brougham was the first to suggest, and the credit for the statesmanship it exhibits is Lord Durham's alone, though he warmly acknowledged the assistance he had derived from Buller, Wakefield and others in preparing the materials on which it was based. With regard to the future government of British North America, Durham had at first inclined towards a federation of all the colonies on that continent, and this aim, afterwards achieved, remained in his eyes an ideal to be striven for; but as a more immediately practical policy he advised the legislative union of Upper and Lower Canada, his avowed aim being to organize a single state in which the British inhabitants would be in a majority. He further urged the creation of an executive council responsible to the colonial legislature; he advised state-aided emigration on the broadest possible scale, and the formation of an intercolonial railway for the development of the whole country. Meantime Durham, who almost alone among the statesmen of his time saw the importance of imperial expansion, interested himself in the emigration schemes of Gibbon Wakefield (q.v.); he became chairman of the New Zealand Company, and was thus concerned in the enterprise which forestalled France in asserting sovereignty over the islands of New Zealand in September 1839. His health, however, had long been failing, and he died at Cowes on the 28th of July 1840, just five days after the royal assent had been given to the bill giving effect to his project for uniting Upper and Lower Canada.

Lord Durham filled a larger place in the eyes of his contemporaries than many statesmen who have been better remembered. He was in his lifetime regarded as a great popular leader; and his accession to supreme political power was for some years considered probable by many; his opinions were, however, too extreme to command the confidence of any considerable party in parliament before 1840. That Brougham hated him and Melbourne feared him, is a tribute to his abilities; and in the first Reform Act, of which he was the chief author, and in the famous _Report_ on the principles of colonial policy, he left an indelible mark on English history. His personal defects of character did much to mar the success of a career, which, it must be remembered, terminated at the age of forty-eight. He was impatient, hot-tempered, hypersensitive to criticism, vain and prone to take offence at fancied slights; but he was also generous and unvindictive, and while personally ambitious his care for the public interest was genuine and untiring.

By his first wife Durham had three daughters; by his second, who was a lady of the bedchamber to Queen Victoria but resigned on her husband's return from Canada, he had two sons and three daughters. The eldest son, Charles William, the "Master Lambton" of Sir Thomas Lawrence's celebrated picture, died in 1831; the second, George Frederick d'Arcy (1828-1879), succeeded his father as 2nd earl of Durham. The latter's son, John George Lambton (b. 1855), became 3rd earl in 1879.

See Stuart J. Reid, _Life and Letters of the First Earl of Durham_ (2
vols., London, 1906); _The Greville Memoirs_, parts i. and ii.
(London, 1874-1887); Richard, duke of Buckingham and Chandos, _Memoirs
of the Courts and Cabinets of William IV. and Victoria_ (2 vols.,
London, 1861); William Harris, _History of the Radical Party in
Parliament_ (London, 1885); Harriet Martineau, _History of the Thirty
Years' Peace_ (4 vols., London, 1877); William Kingsford, _History of
Canada_, vol. x. (10 vols., Toronto, 1887-1898), H.E. Egerton, _Short
History of British Colonial Policy_ (London, 1897). (R. J. M.)

DURHAM, a northern county of England, bounded N. by Northumberland, E. by the North Sea, S. by Yorkshire, and W. by Westmorland and Cumberland. Its area is 1014.6 sq. m. It is wholly on the eastern slope, the western angle being occupied by spurs of the Pennine chain, exceeding 2300 ft. in height at some points on the Cumberland border. West of a line from Barnard Castle by Wolsingham to the neighbourhood of Consett the whole of the land, excepting narrow valleys, lies at elevations exceeding 1000 ft. This area represents roughly one quarter of the total. The principal rivers rising in these hills are the Derwent, tributary to the Tyne, forming part of the county boundary with Northumberland, the Wear and the Tees, which forms almost the whole of the boundary with Westmorland and Yorkshire. The dales traversed by these rivers in their upper parts, though sufficiently strongly contrasted with the dark, barren moors surrounding them, yet partake of somewhat the same wild character. Lower down, however, are beautiful and fertile valleys, the main rivers flowing between steep, well-wooded banks; while the lesser streams of the coastal district have carved out denes or ravines on the steep flanks of which vegetation is luxuriant. Castle Eden Dene, 7 m. N.W. of Hartlepool, is famous for its beautiful trees and wild flowers. The coastward slope is fairly steep in the northern half of the county, but it is steady, and the coast itself has no striking scenic features, save where the action of the waves upon the magnesian limestone has separated great masses, leaving towering fragments standing, and fretting the face of the rock with caverns and arches. The cluster of rocks named the Black Halls, 6 m. N.W. of Hartlepool, best exhibits these features. Other natural phenomena include the Linnkirk caves near Stanhope in Weardale in which numerous fossils and bones, with evidence of habitation by man, have been discovered; and the Hell Kettles, S. of Darlington, near the junction of the Tees and the Skerne, four cavities filled with water, reputed to be unfathomable, and measuring from 80 to 120 ft. in diameter. The water is sulphurous.

Except in the moorlands of the west only a few scraps of the county have been left in their natural state; but these portions are of great interest to the student of natural history. The ballast-hills at Shields, Jarrow and Hartlepool, formed by the discharge of material from ships arriving in ballast from foreign countries, are overgrown with aliens, many of which are elsewhere unknown in this country. Nearly fifty different species have been found. Stockton was almost the last retreat in England of the native black rat. Of the former abundance of deer, wild ox and boar every peat bog testifies by its remains; the boar appears to have existed in the reign of Henry VIII., and records of red deer in the county may be traced down to the middle of the 18th century.