to the complete annihilation of the Magyar's liberties and the incorporation of the kingdom into the hereditary states of Austria. "I will make Hungary captive, then poor, then Catholic," was the policy of the king. the brilliant court of Louis XIV. The king himself, as if to make amends for his ingratitude to Hungary, often entertained the chivalric prince at Versailles and Marlay. The great Condé received him graciously at Chantilly. Fashion even Tököli, the father-in-law of Rákóczi, accepted his patronage. There was no had previously raised the standard of re- good society in Paris without Rákóczi. volt, and, with the assistance of the Turks, Saint Simon praises the exile, and he menaced the existence of the Austrian gained the good graces of Madame de Mainempire. But Kara Mustapha and Soly- tenon. After a residence of six years in man Pacha charging upon him their defeat Paris he went to Constantinople, in order in Hungary, caused his arrest, and at this to live as near his native country as postime he was languishing in exile at Nico- sible. There he died in 1735 at the age media, in Asia Minor. When Rákóczi of sixty years. His life and his immortal returned from his foreign travels the Mag-war-song are equally loved by the Magyars. yars again flew to arms. The eminent The villages along the Waag are reachqualities of the son-in-law of Tököli marked ed by post, the river being navigated only him as their leader, and so disinterested by boats of the smallest kind and rafts. By was his zeal that he refused the crown of means of the latter, consisting of ten or Poland offered him by the Czar of Russia. fifteen trunks of trees, the mountaineers Betrayed by Longuerol he fell for a time transport immense quantities of wood and into the hands of the Austrians, but having timber to Comorn and Pesth. Ordinarily escaped in consequence of the heroic de- two or more rafts are united together. A votion of his mother, he took refuge in rude cabin serves for a sleeping-room and Poland, and there prepared the tempest kitchen, and two men are able to guide the which soon threatened to overwhelm the whole by the aid of long oars. As they throne of the Cæsars. As the war march descend through the mountainous region of Rákóczi sounded through his native by moonlight, the voyage is enchanting. land, touching the brave Magyar hearts Toward the Danube, however, into which with its electric fire, peasant and prince the Waag empties near Comorn, are vast ranged themselves under the national flag, swamps where the frogs hold their unininscribed with the words, For God, our terrupted concerts. In no other place Country, and Liberty. Rákóczi bore the would those noisy denizens of the lowstandard of victory to the walls of Vienna. lands have been more likely to suggest But the traditional good fortune of Austria "The Song of the Frogs," by a celebrated saved the empire. Foreign aid was in- Hungarian poet. voked, and some advantages having been gained over the Hungarians by the new emperor, Joseph I., Rákóczi, who was of a conciliatory nature, showed himself disposed to treat with the enemy upon honorable terms. Then the Court of Vienna brought into play its cunning, machiavelian policy. France, the ancient ally of Hungary, would no longer treat with revolutionists. Russia, although friendly to the Hungarian cause, was about to engage in a war with the Turks. Rákóczi foresaw the event. He again refused the crown of Poland, and, having resigned his power, left forever his native country. He could not endure the domination which circumstances rendered inevitable. Austria sought in vain to flatter the illustrious exile. But Rákóczi never failed to express his invincible hatred of the house of Hapsburg. At Paris he became the favorite of In a low, rude wagon, drawn by four small restless horses, we travel like the wind, but never arrive. The soil flies behind us. Hour after hour, like the steed in the ballad, "Tramp, tramp by the mountain's side," we traverse forests, fields, and villages. Before us, at last, are the great plains of Hungary, the chosen land of the Magyars. The air seems freer; our companions, who love not the mountains, catch the inspiration of the scene, so majestic and ocean-like in its solitude, and even our fleet little steeds become more animated as we course over their familiar plains. On all sides of us, as far as vision can reach, extend the pusztas, the name by which the Magyars designate the steppes of Hungary. One would suppose the region uninhabited, did not a cavalier, with floating garments, now and then appear on the horizon, or the eye rest upon immense fields of grain, waving and sparkling in the sunshine, like the gently moving surface of the ocean. At intervals the ear also catches the winding notes of a shepherd's horn, or the faint tinklings of distant bells. A new world opens before us. Here by day the traveler is misled by the illusions of the mirage, by night the horizon is illuminated with the camp fires of caravans. In every direction roam over pastures without limits, vast herds of horses and cattle and bleating flocks. To the child of cities or of the mountains, the pusztas become monotonous, but never to the Magyar. He loves their solitude, loves the silence which seems like repose after the tumult of battle, and his heart beats quick as he calls to mind the deeds of his ancestors; for with these broad plains are associated many of the great events of Hungarian history. Here swarmed the old migrations; here whole nations were scattered or exterminated; and frequent also are the souvenirs of recent invasions and combats. On these broad plains, resembling the steppes of Northern Asia, dwell the Mag yar shepherds, differing in no respect from the rude companions of Arpad. Neither time nor civilization has modified the ancient types of their hardy race; and on the plains of Central Europe we are surprised to behold an exhibition of the pastoral life of the remote Orient. Here is life partriarchal and communion with nature. Genuine nobility needs not the glitter of luxury in order to impose respect; and the Magyar shepherd, enjoying the free air and contemplative existence among his flocks where he walks a sovereign, looks with contempt upon houses of stone and dwellers in cities. In these solitudes the Hungarian shepherds have retained many of those primitive ideas, which contrast strongly with the sentiments of modern society. In their estimation whatever grows, or comes of its own accord upon the earth, has no legitimate owner. There are things which God has created for all, and which, therefore, belong to all. The thief is he who takes from another what is in his actual possession-objects which are not found by the way, but must be purchased with money. You could never convince the Magyar shepherd that any one man owns the trees planted by the hand of nature, or the wild deer that course through the forest. He has the same right to fell the tree, as he has to enjoy its shade, and hesitates not to select from the troop of horses on the prairie, on the great highway of the world, such an animal as will suit his convenience. Yet the humblest of these rude shepherds would hazard his life to save your own, were you in the enjoyment of his hospitality. The Csikos are pastors who guard the immense troops of horses scattered over the Hungarian plains; robust and intrepid men, exhibiting the type of the ancient Magyar race. Their fine features are darkened by the sun and the wind, for the Csikos are accustomed to an almost savage life, and exposed to all the inclemencies of the seasons. Their costume is picturesque, and its elegance their particular pride. A slouched, well-ribboned hat, a loose flowing gatya, whose fringed skirts reach to the long spurred boots, and an embroidered dolma, with polished metal buttons, thrown over the shoulder in the manner of the hussars, make up a dress in keeping with their manly forms. The Csikos, from their partiality to the open air and the beautiful stars, pass almost their entire life away from the towns and villages. They are occasionally to be seen at the races held in different parts of the kingdom, a sport to which the Hungarians have a natural predilection; and are readily distinguished by the dignity of their bearing and the disdainful regards they cast upon the crowd. But the Csikos are expert horsemen, and often bear away the palm from the best foreign riders. They also visit the great quarterly fairs at Pesth to dispose of their horses, whose good traits they exhibit to the best advantage. They have the gipsy trick of changing the color of their animals when it is desirable to dispose of one that has been stolen, or to put a pursuer off the track. Although enjoying but few of the advantages of civilized life, the Csikos are patriotic lovers of their country. At the cry of invasion they leave their pastoral occupations and rally under the national banners. Less fitted for the slow movements of heavily armed troops than for guerrilla warfare, their sudden attacks are as terrible as they are unexpected. In the last insurrection the Csikos, armed mainly with slender lances and the lassos, terminating in leaden balls, with which they capture wild horses, made terrible havoc with the Austrian and Russian soldiery. The Csikos spend most of their life on horseback. The child of tender age is accustomed to this hardy exercise. As soon as he can gallop without falling off, his father proudly greets him, "Ember ragy," (thou art a man.) case on to a huge perspective of blackened or blackening chimney-pots, may be converted into an agreeable and even richly ornamental feature by this process, which has the additional advantage of being very simple and very economical. The process simply consists in first affixing such colored prints to the inner surface of the glass, by means of an adhesive material, prepared for the purpose, or simply by thin starch, which is considered still better, and then varnishing the subjects with a strong transparent varnish, both for the purpose of rendering them still more “diaphanous," and also for their preservation, as after this last process they may be "washed" with the same ease and safety as painted glass itself. It has been stated that the subject materials to be most easily procured are figure-subjects of suitable size, and in forms likely to be most generally useful; and also in ornament, such as borderings, centers, corners, etc., in great variety. Nothing would be easier than to stick a figuresubject in each pane of the window to be decorated, merely putting a border round it, and perhaps filling the upper panes with ornament only. But this would hardly give a new character to the window, which would still consist of its nine or twelve dull routine squares, the enrichment in no way disguising its common or ordinary character. Their mode of capturing and taming the wild steed of the pusztas, requires great address, and exposes them to danger. The horse is taken by means of a lasso, or more frequently the Csiko creeps softly near the animal, and with a bound vaults upon his back. Exposed, without saddle or bridle, to the furious movements of the horse, he is sometimes carried for hours, until the poor creature falls to the earth from exhaustion, and is secured with a halter. This dangerous operation is, however, not unfrequently effected without abandoning the pipe, with which, indeed, the shepherd rarely dispenses. The only places of social reunion for the Csikos, are the rude farm-houses, scattered at wide intervals over the Hungarian plains. There they meet upon the Sabbath to listen to the music of the bagpipe, or to dance in the animated manner of their people. There also they relate the heroic deeds of their ancestors, or lament with each other the loss of their country's liberty, sighing over some verse of Kisfoludi, which has found a response in every peas-pleasing in itself, and have a tendency to ant's breast. "O Rakos! Rakos! what hast thou then become? From thy brilliant fame how fallen !" DIAPHANIE THE ART OF IMITATING Let us see, however, whether it be not possible, with a mere repetition of some half dozen or so pieces of ornament, to construct a design which shall be at once Of give altogether a new character to the old In constructing square-paned window. the design shown in the engraving, only four principal patterns were used-a large ornamental circle, a smaller one, a portion of a border, and a corner-ornament. the large circular ornament seven copies were required; of the smaller, six; of the MONG the amusements of a somewhat portion of border, ten pieces; and of the artistic character that have been in- corner-ornaments, two. In order to disvented as agreeable pastimes, by means guise the quadrangular formality of the of which home-decorations may be devised square panes, the large circular ornaments and executed, none can be turned to more have been placed, as it were, across them, useful account than the process termed by dividing the pattern, the line of the Diaphanie, by means of which the effect framework passing up the center of the of richly-painted windows may be so close-circular device, and being to a certain exly imitated as to deceive even a tolerably tent lost in its intricacy. A critical eye. Many a dreary window look In a similar manner the smaller circles ing into a close back yard, or from a stair- are made to break the effect of the remarkable compositions might be produced. If it should be thought desirable to obtain greater variety in such a composition as that in our illustration, the quatrefoil ornaments of the four central circles might be cut out, and small circular figure subjects introduced, many of which may be found very suitable for the purpose, both in stylo and color. It should be noted that the style of ornament selected for our composition is that of the stainedglass work of the twelfth century; one less hackneyed than that of the later periods of Gothic, or the well-worn cinquecento. Care should be taken not to mix styles in compositions of this kind, as the most mongrel and detestable effect would be produced by heterogeneous mingling and even with well-selected and perfectly homogeneous materials an affair of this kind may degenerate into transverse lines; and the external border, | mere patchwork, if a due attention to general design, both in form and distribution of parts and colors, be not tastefully observed. by narrowing the outer panes, and converging at the top, still further destroys the offensive repetition of the routine squares. It will be seen that in some instances the circles have been decreased or enlarged by taking away or adding a line to make them fit the design: this is very easily managed, as in the prints there is generally paper enough to spare on which the extra line may, with very little artistic skill and some care, be drawn, while the cutting away is obvious enough. The smaller squares and ornaments, which in one or two places vary and complete the design, are not, strictly speaking, necessary, but they add to its completeness, and are such as may easily be selected out of an ordinary collection, or painted by hand; the proper materials being of course employed. With a very little superaddition of original design, indeed, some very THE AULD STILE. THE artist (Mr. Faed) has won to him THE self a reputation by the constant choice of subjects which are of a homely nature, and appeal to the widest of all classes of feelings; those which base themselves upon domestic incidents of the ordinary course of life, or such as refer to the affections for their interest with the spectator. We are led to surmise, from the present work of art, that the young Irish damsel, probably the belle of the village, has escaped from maternal surveillance by the exercise of many a feminine maneuver, or coining what society has agreed to designate by the anomalous title of" white lies;" and now, keeping her appointment at the |