their provifions in a vile condition, deformed with filth and blood; a night big with horror hung over their heads; and the enfuing day, to a number of brave and gallant men, might prove the last.

CECINA feeing this abased spirit of the legions addreffed them from the part of the camp affigned for the eagles. Having commanded filence, he explained their fituation, and the neceffity that called upon them to act like men. 66 They had nothing to depend upon except "their valour; but their valour must be cool, delibe"rate, guided by prudence. Let all remain within the "lines, till the barbarians, in hopes of carrying the "works, fhould advance to the affault. Then will be "the time to fhew themselves. If they fled, other "woods, and deeper fens, remained behind; perhaps "more favage enemies. By one glorious victory they "were fure of gaining every advantage; honoured by "their country, loved by their families, and applauded by the whole army.”

66

The GERMANS, in the mean time, were no less in agitation; their hopes of conqueft, the love of plunder, and the jarring counfels of the chiefs, distracted every

mind.

ARMINIUS proposed" to let the Romans break up

"their camp, and furround them again in the narrow "defiles, and in the bogs and marshes." INGUIMER, more fierce and violent, and for that reafon more acceptable to the genius of barbarians, "was for ftorming "the camp: it would be carried by a general affault; "the number of prifoners would be great, and the booty "more entire." His advice prevailed.

At the point of day the march began: at the first onset the GERMANS levelled the foffé, threw heaps of hurdles, and attempted a fcalade.

The ramparts were thinly manned; and the SOLDIERS, who appeared to defend them, as if panic ftruck, fled. The BARBARIANS foon clambered over the works to pursue the flying enemy.

In that moment the fignal was given to the cohorts; clarions and trumpets founded through the camp; the ROMANS in a body, and with a general shout, rushed on to the attack. They furiously fell upon the enemy, crying aloud, as they advanced, "Here are no woods, "no treacherous fens; we are here on equal ground."

The BARBARIANS had promised themselves an easy conqueft. The affair they imagined would be with a handful of men; but their furprise rofe in proportion, when they heard the clangour of trumpets, and faw the field.

glittering

glittering with oppofing arms.

The fudden terror mag

nified their danger. A dreadful flaughter immediately enfued. The two chiefs betook themselves to flight; ARMINIUS unhurt, and INGUIMER dangerously wounded.

No quarter was given. The purfuit continued as long as day-light, and refentment lafted. Night coming on, the LEGIONS returned to their camp, covered with new wounds, and their provifions no better than the day before but health, and food, and vigour, all things were found in victory.

SECT,

SECT. LXXXVIII.

OPPOSITION OF LIGHT AND SHADE.

"Let there be light," said GOD, and forthwith light
ethereal, first of things, quinteffence pure,
fprung from the deep, and from her native east

to journey through the airy gloom began,
fpher'd in a radiant cloud, for yet the fun
was not: GOD faw the light was good;
and light from darkness by the hemisphere
divided; light the day, and darkness night

he nam'd. Thus was the first day ev'n and morn,
nor paft uncelebrated, nor unfung

by the celeftial quires, when orient light
exhaling first from darkness they beheld;

-with joy and shout,

the hollow universal orb they fill'd,

and touch'd their golden harps, and hymning prais'd
GOD and his works, CREATOR him they fung
both when firft ev'ning was, and when first morn.

MILTON.

PAINTERS, fays PLUTARCH, increase the effect of the light and fplendid parts of a picture by the neighbourhood of dark tints and fhades; and MAXIMUS TYRIUS obferves, that bright and vivid colours are always pleasant to the eye; but this pleasure is confiderably hightened if you accompany them with tints fomewhat

dark

dark and gloomy. These paffages of the ancients feem to imply an acquaintance with the use of cold and dark tints, where a brilliancy of tone in other parts is required, although the difcovery of the claro-obfcuro is chiefly attributed to the moderns. One of the main excellencies of RAPHAEL is his fondnefs for great maffes of light, and deep fhadows, which he obferves equally in the naked as in the attired figure. The painters of the Venetian school more especially endeavoured by the oppofition of coloured objects, and by the contrast of light and shade, to produce a vigorous effect, which demands and fixes the attention. This is more particularly the characteristic of the Dutch fchool. By their knowledge of contrast, they arrived at the difficult art of painting even light itself. REMBRANT more especially delighted in the great oppofition of light and fhade. The room where he used to paint was darkened, and he received the light only by a small aperture in the fhutter, which he contrived fo as to fall and illumine the object he was defigning. Hence REMBRANT's manner of painting appears like magic. None exceeded him in the knowledge he had of the effects of different colours mingled together, nor could better diftinguish those which did not agree with thofe which did. He placed every tone