Virgins, which fill up the space to the church door, is the most remarkable of the group, and a most original and skilful composition. She is turned towards the Tempter, and seems quite intoxicated with the charms of his discourse. The figure is thrown back, as if in a burst of merriment, while at the same time she points with her finger to her lamp, which she has let fall, and which lies broken on the ground. The expression of her features, and her attitude, admirably convey the idea intended to be illustrated. The figure next to her, holding her lamp reversed, has a pensive look of painful anxiety, and is exceedingly elegant in its treatment. The next, and the one nearest the door has a similar expression, but more absorbed; it seems as if she has already knocked at the door and been refused admittance. The two figures which make up the five are on the main front, on the right of the Tempter. One has an air of pleasing voluptuousness, the other an air of indifference; both are admirably designed; indeed, it is but a repetition of the same praise, when speaking of each of these admirable figures. It was assuredly no common mind that could have treated a subject with such power and intelligence, and, as the execution is of equal merit, the hand and the mind worked together.

The Virtues, which decorate the other doorway, are represented by twelve figures, six on each side, disposed in a similar manner to those of the Wise and Foolish Virgins. These are varied in attitude, graceful, and expressive; each stands on the opposed Vice-a grotesque figure placed beneath their feet. As each figure completes its own story by symbolising a virtue and its opponent vice, there is no room for description without illustration. In general, they exhibit a great deal of thought; no two are alike; some of them, in the contrast of the limbs, display an energy that is worthy even of Michael Angelo: and it may be said of these, as of the group already described, that for grace there is nothing to be desired; for manage ment of drapery it would be difficult to go beyond them; it is natural in its folds, covering but not concealing the form, the movement of the limbs

showing beneath as in the best of the antique, and contrasting strongly with the timid insipidity that fills our exhibitions, whilst the vigour of the execution shows with what decision the artist managed his chisel.

The sculptures which adorn the principal entrance consist of figures of the Apostles. They are scarcely as happy as the female groups, and are a little hard and heavy; nevertheless, it is only by contrast they suffer, and they possess much of the merit ascribed to the others. I do not intend to describe the innumerable figures and small groups which fill the arches of the doorways; the arrangement is not uncommon. I may observe, however, that the great western entrance has the story of Christ's Passion, in which the Last Supper, Ascension, Descent into Hell, are conspicuous subjects; while the voussoirs of the arch are filled with representations of the martyrdom of the Saints. These seem to have had a good deal of restoration.

During the time I was sketching outside, an old woman came and fixed a stall against the church door for the sale of rosaries, pious medals, books, &c. Looking over the latter, I found the narratives of those recent veritable miraculous events at Rimini and Salette. The latter I bought for a few kreutzers, having possessed myself of that of Rimini at Brussels last autumn, and I continued my work. Shortly the old lady came up, and asked “If I would be so good as to take care of her stall? She would be back in a twinkling (augenblick)." The augenblick lasted ten minutes, and I felt it was rather a peculiar position for a heretic to be tending a stall for the sale of "aids" to orthodox devotion. I now sought the interior of the building, and felt its pleasant gloom a cool and refreshing retreat from the scorching heat without. Externally, Strasburg Minster engages our attention by the multiplicity of its details, but within all is simplicity and grandeur. It seems as if Erwin von Steinbach had endeavoured to assimilate, as far as possible, his design to the early Romanesque work of the choir, in order that its pointed architecture should not be loaded with ornament so as to look inharmonious. Nothing breaks the view from the west door to the

high altar; it presents a vast and lofty area, with a subdued quiet light from the quantity of richly painted glass which fills the windows. So beautiful and complete a display I have never, I think, before seen; it seems as if the sapphire and ruby had been borrowed to transmit the light, so rich and deep are the reds and blues, which are by far the most important of the primitive colours to use in glass. I was also led to draw a comparison between the success of large and small figures, and compositions; my verdict is entirely in favour of the latter, nor have the moderns gained anything by their mechanical skill, which enables them to procure larger pieces of material. In these cases there is a want of vigour; and, in spite of the labour and skill employed in modern painted glass, I must confess that the application of it appears to me but little understood. Too

much is thought of making a picture, and of competing with other materials; but the spectator should always be impressed with the effect of the whole; and I am inclined to believe the use of figures might be altogether discontinued, without any detriment whatever; for they are often placed so far above the eye as to be entirely lost, so far as art is concerned, and often difficult to distinguish, even with the aid of a powerful glass, as I have reason to know. But we will now rest awhile in the pleasant shade of the aisles, and take a look at the history of the apparition of Our Lady of Salette, and if we find it affords delectation, or is at all calculated to edify our readers, a summary of the story, as given by the orthodox themselves, may not be uninteresting, the more especially as we are taunted with our want of faith on its account.

THE White Horse was anciently the device of the Saxons, who had great regard to this creature, and being white, saith Tacitus, was employed in their sacrilegious ceremonies. It was usual with the pagan Germans, especially their noblemen, to take the surname of beasts: thus Hengist and Horsa were denominated, both their names in the Saxon language, as also in the ancient Teutonic, signifying a horse, and they bore a leaping white horse for their device in a red field, which was the ancient device of the princes and dukes of Saxony; and albeit, says Speed, the dukes have of late years changed that coat, yet doth Henry Julius now Duke of Brunswick, a most ancient Saxon prince, who sometimes bears the white horse in a red field, bear the white horse for the crest. Here this horse is called a leaping white, and therefore blazoned salient. In "Les Souverains du Monde" it is blazoned Gules, a cheval gay or

frisking; and in the arms of the Elector of Cologne, who stiles himself Duke of Westphalia, it is blazoned un cheval garni et passant d'argent, which terms gay and passant seem a contradiction. Chifflet, No. 210, blazons the horse in the crest of Henry le Jeune, Duke of Brunswick, un cheval courant d'argent: the posture of the horse seems not to have been regarded, but to have been adapted to the situation in the escocheon; thus the Duke of Savoy bears it salient and contourné, whilst the Dukes of Brunswick have all along borne it courant. This white horse for Saxony, Hoppingius tell us, is not borne by reason of the Duke of Brunswick's descent from Wittichindus of Saxony, but for conquering a great part of that country, especially Westphalia; his words are,-"Quoad equum sive pullum, non erat gestum ab Henrico Leone tanquam proveniente a prosapia Wittichindi, ut equum deferret, sed quod maximam partem West

phaliæ, cujus hic equus tessera est, possidesset." In "Les Souverains du Monde," it is said, "Ce sont les armes de la Saxe inférieure, c'est à dire, de Westphalie, qu'avoit portés d'abord Witekind et ensuite Henry, surnommé le Lion." The Jeu d'Armoiries blazons the crest of Brunswick un cheval gallopant; but in the blazon of the same horse in the Duke of Savoy's arms the author calls it un poulain gay contourné et affraie d'argent, a colt scared and turned the contrary way; and tells us that Westphalia bears a colt, in allusion to the word phalen, which in the old Saxon signifies a colt, to which they added the word Vriest or west; but notwithstanding this pretty etymology we cannot help thinking it a horse.

Before the erection of the dukedom of Brunswick Lunenburgh into an electorate, the dukes bore the White Horse as the device or badge of ancient Saxony in their crest, and so it appears in the arms of Henry le Jeune, in Chifflet, No. 210, and upon the money down to Ernest Augustus, who being constituted an elector of the empire transferred the horse from the crest into the escocheon, placing it in the middle chief (which is the first place with the Germans) as the insignia of the ducal house. And thus it is marshalled upon the reverse of the medal of Duke Ernest Augustus, anno 1692, struck upon the occasion of his investiture in the electorate; and thus we see it in the garter-plate of his Majesty King George the First, when Duke of Brunswick, anno 1702; whereas in that of Christian Duke of Brunswick, installed 13th Dec. 1625, the horse is only in the crest.†

The escocheon sur le tout is the imperial augmentation by which the several secular electors are distinguished from each other; it being the prerogative of the electors, amongst others, to enjoy the arch-employs of the empire as inseparably united to their electorates. Thus the three ecclesiastical electors are grand chancellors, and the secular electors bear the distinc

*Ed. Paris, 1718, v. i. p. 164.

tions of their respective offices; as BAVARIA and the Elector Palatine sur le tout, Gules, the globe imperial or, for the office of Arch-Dapifer or Great Master of the household of the empire; SAXONY, Parti sable and argent, two swords in saltire gules, for the office of Great Marshal; BRANDENBURGH, Azure, a sceptre in pale or, for the office of Grand Chancellor.

The Duke Ernest received the investiture of the Electoral dignity the 29th December, 1692 N.S., but he never was received in the college of electors; at the same time he was declared standard-bearer of the empire; but this being claimed by the Duke of Wirtemberg, who as such bears the imperial standard on his arms, he never used the ensign of the office. He died the 23rd of January, 1698, and was succeeded in the electoral dignity by his son George Louis, upon which occasion a medal was struck having the Horse current upon the reverse. On the 7th September, 1708, he was received into the electoral college at the diet at Ratisbon, and the 12th April, 1710, had the office of Arch-Treasurer of the empire conferred upon him. From the investiture of Duke Ernest Augustus to this time the escocheon sur le tout had been void, as we see upon the garter-plates of his Electoral Highness in 1701, and of the Electoral Prince his son, our present gracious sovereign in 1706, which in "Les Soverains du Monde" is called ‡ un champ ruidé, où les marques de la nouvelle dignité Electorale se doivent placer un jour. But the office of Arch-Treasurer being granted, as before mentioned, his Majesty from that time bore the escocheon charged with Charlemagne's crown as the badge of that office.

Before quitting the subject, I shall endeavour to obviate some queries which may be made in relation to the bearing the White Horse; as, Why it was borne by the Dukes of Brunswick at first in the crest and not in the arms : Why Duke Ernest Augustus, upon being constituted an Elector of the empire, inserted the Horse in his arms

Ed. Paris, 1741, vol. i. p. 196.

and in the middle chief, which, with the Germans, is the first place; And, lastly, why, being borne in the first place, it was, upon the accession of King George the First to the crown of Great Britain, marshalled en point enté, between the arms of the two dukedoms. To the first it may be replied, that the crest is the most ancient and most honourable bearing amongst the Germans. "Plusieurs familles Allemandes ont divers cimiers qui sont comme autant de brisures, que en distinguent les branches; parce que plusieurs freres ont paru dans les tournois avec memes armes et differens cimiers. Chez eux le cimier est plus grande marque de noblesse que l'armoiries." Again, "Les familles qui ont changé d'armoiries pour de justes raisons ont retenu les anciennes en cimier, comme les Ducs de Brunswick, sortis de la maison de Saxe, ont encore en cimier le Cheval de Westphalie, ou de l'ancienne Saxe." (Origines des Armoiries.) It must likewise be observed, that this Horse was not the arms, but the ancient device of the Saxons; and the Wild Colt of Westphalia, if there be any such distinct bearing, is only a diminutive of the Saxon Horse, and derived from it. This Horse had been long the badge of the Ducal house of Brunswick, for which reason, when this house was raised to the Electoral dignity, the Horse was made the insignia of the Electoral house, and inserted as the Electoral arms in the middle chief, which is the first place with the Germans. This served likewise to distinguish the Electoral house of Hanover from other branches of the Brunswick family, as also to shew their descent from the ancient house of Saxony, and conquest of Westphalia and possession of some part of it; as the Elector of Cologne, who quarters the Horse in his second quarter (after the arms of the Archbishopric) for Westphalia, because at the general partition of the great Dukedom of Saxony, when Henry the Lion was proscribed, the Archbishop of Cologne obtained that part of Westphalia which he still holds by virtue of it, and styles himself Duke of Westphalia. For this reason I should rather ascribe the Horse in the Brunswick arms to Lower Saxony, of which he possesses so great a share, including the three Duchies of Brunswick, Lu

pos

nenburgh, and Hanover, almost all the Electoral dominions, and therefore sesses the first place, of which the others are but parts and members; and though it was not borne as arms in the escocheon before the investiture of Duke Ernest Augustus into the Electoral dignity, yet upon a coin of Henry Julius Duke of Brunswick the crest with the Horse is placed in a circle of eleven escocheons of arms in the first place, between the escocheons of Brunswick and Lunenburgh, as the principal insignia, as it is now marshalled as arms between those two coats. It must likewise be observed that the Horse being borne as arms, is not therefore discharged from the crest as our modern books of arms have it, where, when the Horse is in the crest, it is not in the arms, and, vice versâ, when in the arms is omitted in the crest; for in the garter-plate of his present Majesty King George the Second, anno 1706, being then Electoral Prince of Brunswick, the Horse is both in the arms and the crest.

To the last query, why the Horse, being marshalled in the first place, should be placed in the point enté in the fourth quarter of the British escocheon, I answer, that the Horse was properly marshalled, according to the German blazon, in the middle chief, between the arms of the two duchies of Brunswick and Lunenburgh, being accompanied with many other quarterings; whereas, being marshalled in the fourth quarter of the British escocheon only with those two in a triangular form, it could not be placed properly in any other situation. Had the Horse been marshalled in any other manner, it must have occupied the whole chief of the escocheon, or have displaced the arms of duchies, which are his Majesty's proper titles, and according to our English heraldry the arms should correspond to the titles, and Brunswick and Lunenburgh occupy the chief of the escocheon, and the insignia of Saxony, or of the ancient house of Saxony, whence both are derived, fall properly and naturally enté, or ingrafted between both; and this manner of marshalling the arms of the two dukedoms, being a kind of impalement, as it bears a near relation to, so it might be intended in imitation of, the impalement of England and Scotland

in the first quarter of the same royal achievement, which royal achievement of his Majesty King George the First, as settled in Council the 6th December, 1714, and entered in the Earl Marshal's book in the Office of Arms, I. 27, may be thus blazoned:-Quarterly, first, England: viz. Gules, three lions passant guardant in pale or; impaling Scotland, Or, a lion rampant within a double tressure contre-fleury gules; second, France, Azure, three fleurs-de-lis or; third, Ireland, Azure, a harp or, stringed argent; fourth, the arms of his Majesty's electoral dominions, semi per pale and per chevron enté: first, Brunswick, two lions passant guardant or; second, Lunenburgh, Or, semé of hearts gules, a lion rampant azure; third, Saxony, Gules, a horse current argent, with an escocheon in sur tout of Charlemagne's crown, being the badge of the office of Arch-Treasurer of the empire; all within the garter. And for the crest, upon a royal helmet the imperial crown of Great Britain (double-arched, and composed of crosses and fleurs-de-lis), and thereon a lion passant guardant, crowned with a like crown, mantelled gold, doubled ermine. Supported on the dexter side by the English Lion guardant, and crowned as the crest; and on the sinister by the

Scotch Unicorn, argent, armed, crined, unguled, and gorged with a princely coronet and chain thereto reflexed over his back, and passing between his legs, all or, standing upon a compartment inscribed with the motto DIEU ET MON

DROIT.

The royal badge to be affixed to the collars of the king's heralds and serjeants-at-arms, and worn by other of his Majesty's servants by whom badges are usually worn, was settled at the same time in council, as follows: viz. Upon an escrole (having the motto DIEU ET MON DROIT) azure, the royal motto, the White Horse current, above him the union badge of the thistle inoculated upon the stalk of the double rose. Over this, between the branches, an escocheon with Charlemagne's crown, all under the imperial crown of Great Britain. The White Horse, the insignia of his Majesty's descent and of the electoral house of Brunswick Lunenburgh, was without doubt a very proper addition; but with what propriety Charlemagne's crown, the badge of an office in the empire, could be made a part of the royal badge of Great Britain I cannot comprehend; for I cannot conceive the badge of any office to be honourable, even to an Elector.

THESE papers of Sir Harry Calvert relate to a military operation which was connected with some of the most striking incidents in modern history. In the middle of the year 1792 a large combined army of Austrians and Prussians entered France with the avowed intention of restoring Louis XVI. to the power of which he had been deprived by the Revolution. Such an attempt to interfere with the internal affairs of a great nation, was, to say the least of it, injudicious, and a proclamation issued by the allies which threatened, in a certain event, the total destruction of the city of Paris, was in the very highest degree impolitic and

suicidal. Such a course of conduct betrayed entire ignorance on the part of the allies of the spirit and power of the people they were invading, and the nature of the movement they desired to put down. Its effect was to unite the French nation against their invaders, and drive on the revolutionary faction to excesses amongst themselves, and to endeavours after fraternization with all the democrats of surrounding nations. Dumouriez succeeded by skilful operations, both warlike and diplomatic, in driving the armies of the allies out of France. Becoming an aggressor in his turn, he overran Flanders, which then belonged to Austria, threw open