and Ferdinand placed the future conduct of the war in the hands of the cele brated Count Tilly. For some months the war was prosecuted with various fortunes, the tide of victory ebbing and flowing alternately; but the storming of Magdeburg, which the Austrian general abandoned to all the license of his soldiers, united the whole population against him. Pappenhein, his second in command, was defeated by Gustavus. Königsburg, and other important towns, fell into the hands of the Swedes, whose army, reinforced by the Protestants from all quarters, marched into Saxony, the elector of which received them with open arms, and hastened to conclude a treaty by which the whole force of the electorate were placed under the command of the king, the materiel of war provided in abundance, with a clause binding Saxony to make no peace without the consent of her ally. On the junction being effected, Gustavus marched to encounter Tilly, who had hastened to meet him, in the hope of finishing the campaign at a single blow. The battle was fought at Leipzig, September 7th, 1631, the combined Swedes and Saxons amounting to 100,000 men. The Imperialists, animated by the skill of their former general, fought with desperate courage, but their army was composed of foreign hirelings, who, bound by no common tie of blood, and prompted by no great impulse, contended merely for the reward of their pay. The Swedes, on the contrary, were under the leadership of their native prince, and fought on the side of freedom. The result was a total defeat of the Imperialists, of whom 15,000 concluded their campaigns upon that field, the remainder being saved from destruction by the consummate ability displayed by Tilly in his

retreat.

The

This battle placed Germany at the mercy of the king. His army pressed forward to new conquests, and was reinforced at every step by the now exulting Protestants. He began to parcel out his conquests amongst his allies. The landgrave of Hesse was rewarded with the possession of the country on the Weser. The Elector of Saxony was consoled with the prospect of receiving a great portion of Bohemia, whilst Gustavus himself occupied the district between the Rhine and the Maine. So far all had been well; but dangers of a new kind now appeared to menace his further progress. Germans began to fancy that he aspired to the Imperial dignity, and regretted the necessity which induced them to call in a foreigner to save them from absolute destruction. It was not enough that the Swedes conducted themselves as allies and not as conquerors, and displayed a moderation and humanity which till now had seemed utterly inconsistent with the usages of If their houses had been ravaged, their friends slaughtered, and their religion prescribed, their

war.

"Masters then,

Were still, at least, their countrymen,"

and hence it seemed that the ruin lay concealed in the victory. The confederated states began to waver; and when the emperor, alarmed even for the safety of Vienna, recalled the famous Wallenstein to the command of the army, the position of Gustavus seemed to become almost critical. But the Swedish king had still his own soldiers, and his own genius to rely upon; and with these he was more than a match for all the forces of the empire. Burning to avenge his disgrace, Tilly, with a numerous army, offered battle a second time on the banks of the Lech, but was again defeated, and fell himself in the engagement. In the meantime, Wallenstein had driven the Saxons out of Bohemia, and threatened the king himself. Gustavus hastened to come

THE ORIGIN OF SCULPTURE.

113

to an engagement, which, if terminating in his favour, would have enabled him to penetrate into Bavaria and Austria; but Wallenstein took up a strong position at Nüremburg, by which he was enabled to cut off all succour from the Swedish camp. In the course of seventy-two days, the king lost 30,000 men by battle, hunger, and sickness, until Wallenstein moved towards Saxony, and both armies prepared for an engagenient on the field of Lutzen, on the 1st November, 1632.

Gustavus commenced the attack, singing the magnificent hymn of Luther, "Eine feste Buig ist imser Gott," his whole army joining in chorus; it was the combat of deep earnest feeling with lawless talent and military licentiousness. At the head of his soldiers, the king dashed upon the ranks of the enemy, killing the foremost with his own hand, and completely disorganising them by the vigour of the charge. A second time he cheered on his troops to the assault, and when just in the whirlwind of strife, was murdered by a shot from behind, supposed to have been fired by his cousin, the Duke of Saxe Lunenburg-a suspicion strengthened by the circumstar.ce that the duke soon after entered the service of the Imperialists. The horse of the dying monarch, who had dropped on the field, galloped back amongst the advancing squadrons of the Swedes, and the Duke Bernhard of Weimar exclaiming that the king was a prisoner in the hands of the enemy, inflamed the courage of his soldiers to the pitch of desperation. Never had the genius of Wallenstein been more conspicuously displayed: but the fall of Gustavus was avenged by the defeat of the Imperialists, with tremendous slaughter. The body of the king was found on the field of battle; and with aching hearts the Swedes abandoned all their conquests, to lay their loved sovereign in the tomb of his ancestors.

So perished, at the age of thirty-eight, one of the best princes who ever wore a crown; a statesman whose acts were blameless; a warrior whose death was lamented by humanity: he stands out in bright distinction from the mass of rulers whose power has served to shroud their vices, but not to exalt their virtues. He left behind him an only daughter, who succeeded to the throne of Sweden.

THE ORIGIN OF SCULPTURE.

(Painted by M. Berthelemy.)

AFTER having formed a statue of man, Prometheus, with the assistance of Minerva, ascended to Olympus, and stole the sacred fire. He returned upon earth, animated his work, and thus incurred the anger of Jupiter, who was irritated at seeing his rights usurped.

it

According to this fable, of which there are several traditions in existence, appears, that Prometheus was the first sculptor of celebrity; and that a single statue of his workmanship has given birth to various fictions, more or less extraordinary. The probability that is attached to this interpretation adds considerably to the merit of the subject, which is looked upon as a great ornament to the vestibule of the Museum of Antiques, at Paris. It was considered necessary, and certainly it displays a refined taste, to draw the attention of the visitors to the origin of sculpture at the entrance of a building which encloses monuments of the most perfect productions of the art.

Protected by Minerva, who covers him with her Ægis, and holds the laure! wreath, the recompense of genius, Prometheus touches, with the divine flame,

Q

the man, who becomes animated, and appears astonished at his existence. At the sight of the first mortal being, Time begins his course, the Fates draw the web of human life—and one of them, Atropos, prepares the fatal scissors, destined to terminate it. Above Time, Poetry is preparing to celebrate the glory of this event; and, to consecrate him by their works, Painting and Sculpture appear closely united.

The artist is entitled to much praise, for the happy disposition of the figures, who uphold themselves admirably in the air, without the slightest appearance of falling, as is frequently but too obvious in the figures of cupolas. The tones are light, the general colouring of a pleasing harmony, and the drawing and style extremely elegant.

The painting of ceilings presents to the artist many difficulties, which, in the present production, M. Berthelemy has very ably surmounted.

THE MADONNA OF FOLIGNO.
(Painted by Raphael.)

THIS picture was painted at the instance of Sigismund de Comitibus, a secretary of Pope Julian II., in order that he might fulfil a vow made by him after having escaped some imminent peril: he attributed his safety to the Virgin, and presented this picture to a church at Rome, known by the name of Ara Cœli.

Raphael had frequent recourse to this species of mystical composition, so often produced by the Italian painters; and without subjecting himself to the laws of chronology, has introduced in the same picture, several saints, honoured, no doubt, by the giver, with peculiar veneration.

In the centre of a Glory, the Virgin, seated on some clouds, holds the infant Jesus in her arms, around which some little angels are perceptibly grouped. In the lower part of the picture, the contributor, upon his knees, joins his hands, and directs his eyes towards the Virgin and the infant Jesus. Beside him, St. Jerome and St. Francis are united in prayer. St. John, partly clothed in the skin of a camel, appears to disclose to the spectator the Virgin and her Son. In the midst of them, a little angel on foot, holds a tablet. The back ground represents a village, upon which falls a globe of fire. This is, most probably, a representation of the event that occasioned the vow of the giver of the picture.

This chef d'œuvre is not inferior to any of the finest works of Raphael, who has carried grace and correctness to their full extent. In painting the figure of Sigismund, he has supplied, by an admirable expression, the want of dignity and grandeur in his model. The aspect of St. John is severe-his hair dishevelled, and his body seems wrinkled with his austerities. The head of St. Jerome presents the most majestic features; and the extacy of piety is accurately delineated in the countenance of St. Francis.

Throughout this picture, Raphael has proved himself a great colourist. Nevertheless, the carnations of the Virgin and the infant Jesus, are somewhat red; but those of the saints are worthy of the first masters of the Flemish or Venetian schools The accessaries, the landscapes, and the buildings, are rendered with fidelity and care.

It is not known why Raphael painted the choir of angels of a blue tint, which partakes of that of the clouds; the effect of which is by no means happy. This picture is one of the objects of art recently transplanted from Italy. From the year 1565, it was in the convent delle Contesse, at Foligno, a small town in the duchy of Spoletto, about eight miles from Rome. It is about eleven feet high, and six wide.