was imaginary, for not the least remarkable feature in these transactions
was, that neither insult nor injury was offered to man or woman, and that
not a farthing's value of the immense amount of property destroyed, was
appropriated. It was a war not against the living, but against graven
images, nor was the sentiment which prompted the onslaught in the least
commingled with a desire of plunder. The principal citizens of Antwerp,
expecting every instant that the storm would be diverted from the
ecclesiastical edifices to private dwellings, and that robbery, rape, and
murder would follow sacrilege, remained all night expecting the attack,
and prepared to defend their hearths, even if the altars were profaned.
The precaution was needless. It was asserted by the Catholics that the
confederates and other opulent Protestants had organized this company of
profligates for the meagre pittance of ten stivers day. On the other
hand, it was believed by many that the Catholics had themselves plotted
the whole outrage in order to bring odium upon the Reformers. Both
statements were equally unfounded. The task was most thoroughly
performed, but it was prompted: by a furious fanaticism, not by baser
motives.

Two days and nights longer the havoc raged unchecked through all the
churches of Antwerp and the neighboring villages. Hardly a statue or
picture escaped destruction. Fortunately, the illustrious artist, whose
labors were destined in the next generation to enrich and ennoble the
city, Rubens, most profound of colorists, most dramatic--of artists;
whose profuse tropical genius seemed to flower the more luxuriantly, as
if the destruction wrought by brutal hands were to be compensated by the
creative energy of one, divine spirit, had not yet been born. Of the
treasures which existed the destruction was complete. Yet the rage was
directed exclusively against stocks and stones. Not a man was wounded
nor a woman outraged. Prisoners, indeed, who had been languishing