with the colossal statue itself, was at liberty to find a fresh,
personification of the hero, either in a torch-bearing angel or a gentle
shepherd. The work, which had considerable esthetic merit, was executed
by an artist named Jacob Jongeling. It remained to astonish and disgust
the Netherlanders until it was thrown down and demolished by Alva's
successor, Requesens.

It has already been observed that many princes of the Empire had, at
first warmly and afterwards, as the storm darkened around him, with less
earnestness, encouraged the efforts of Orange. They had, both privately
and officially, urged the subject upon the attention of the Emperor, and
had solicited his intercession with Philip. It was not an interposition
to save the Prince from chastisement, however the artful pen of Granvelle
might distort the facts. It was an address in behalf of religious
liberty for the Netherlands, made by those who had achieved it in their
own persons, and who were at last enjoying immunity from persecution.
It was an appeal which they who made it were bound to make, for the
Netherland commissioners had assisted at the consultations by which the
Peace of Passau had been wrung from the reluctant hand of Charles.

These applications, however, to the Emperor, and through him to the King
of Spain, had been, as we have seen, accompanied by perpetual advice to
the Prince of Orange, that he should "sit still." The Emperor had
espoused his cause with apparent frankness, so far as friendly mediation
went, but in the meantime had peremptorily commanded him to refrain from
levying war upon Alva, an injunction which the Prince had as peremptorily
declined to obey. The Emperor had even sent especial envoys to the Duke
and to the Prince, to induce them to lay down their arms, but without
effect. Orange knew which course was the more generous to his oppressed
country; to take up arms, now that hope had been converted into despair