Never did bold knight, to relieve

       Distressed dames, such dreadful feats achieve,

       As feeble damsels, for his sake,

       Would have been proud to undertake,

       And, bravely ambitious to redeem

       The world's loss and their own,

       Strove who should have the honour to lay down,

       And change a life with him."

      Among the noted thieves of France, there is none to compare with the famous Aimerigot Tetenoire, who flourished in the reign of Charles VI. This fellow was at the head of four or five hundred men, and possessed two very strong castles in Limousin and Auvergne. There was a good deal of the feudal baron about him, although he possessed no revenues but such as the road afforded him. At his death he left a singular will. "I give and bequeath," said the robber, "one thousand five hundred francs to St. George's Chapel, for such repairs as it may need. To my sweet girl who so tenderly loved me, I give two thousand five hundred; and the surplus I give to my companions. I hope they will all live as brothers, and divide it amicably among them. If they cannot agree, and the devil of contention gets among them, it is no fault of mine; and I advise them to get a good strong, sharp axe, and break open my strong box. Let them scramble for what it contains, and the Devil seize the hindmost." The people of Auvergne still recount with admiration the daring feats of this brigand.

      Of later years, the French thieves have been such unmitigated scoundrels as to have left but little room for popular admiration. The famous Cartouche, whose name has become synonymous with ruffian in their language, had none of the generosity, courtesy, and devoted bravery which are so requisite to make a robber-hero. He was born at Paris, towards the end of the seventeenth century, and broken alive on the wheel in November 1727. He was, however, sufficiently popular to have been pitied at his death, and afterwards to have formed the subject of a much admired drama, which bore his name, and was played with great success in all the theatres of France during the years 1734, 5, and 6. In our own day the French have been more fortunate in a robber; Vidocq bids fair to rival the fame of Turpin and Jack Sheppard. Already he has become the hero of many an apocryphal tale—already his compatriots boast of his manifold achievements, and express their doubts whether any other country in Europe could produce a thief so clever, so accomplished, so gentlemanly, as Vidocq.

      Germany has its Schinderhannes, Hungary its Schubry, and Italy and Spain a whole host of brigands, whose names and exploits are familiar as household words in the mouths of the children and populace of those countries. The Italian banditti are renowned over the world; and many of them are not only very religious (after a fashion), but very charitable. Charity from such a source is so unexpected, that the people dote upon them for it. One of them, when he fell into the hands of the police, exclaimed, as they led him away, "Ho fatto pitt carita!"—"I have given away more in charity than any three convents in these provinces." And the fellow spoke truth.

      In Lombardy, the people cherish the memory of two notorious robbers, who flourished about two centuries ago under the Spanish government. Their story, according to Macfarlane, is contained in a little book well known to all the children of the province, and read by them with much more gusto than their Bibles.

      Schinderhannes, the robber of the Rhine, is a great favourite on the banks of the river which he so long kept in awe. Many amusing stories are related by the peasantry of the scurvy tricks he played off upon rich Jews, or too-presuming officers of justice—of his princely generosity, and undaunted courage. In short, they are proud of him, and would no more consent to have the memory of his achievements dissociated from their river than they would to have the rock of Ehrenbreitstein blown to atoms by gunpowder.

      There is another robber-hero, of whose character and exploits the people of Germany speak admiringly. Mausch Nadel was captain of a considerable band that infested the Rhine, Switzerland, Alsatia, and Lorraine during the years 1824, 5, and 6. Like Jack Sheppard, he endeared himself to the populace by his most hazardous escape from prison. Being confined, at Bremen, in a dungeon, on the third story of the prison of that town, he contrived to let himself down without exciting the vigilance of the sentinels, and to swim across the Weser, though heavily laden with irons. When about half way over, he was espied by a sentinel, who fired at him, and shot him in the calf of the leg: but the undaunted robber struck out manfully, reached the shore, and was out of sight before the officers of justice could get ready their boats to follow him. He was captured again in 1826, tried at Mayence, and sentenced to death. He was a tall, strong, handsome man, and his fate, villain as he was, excited much sympathy all over Germany. The ladies especially were loud in their regret that nothing could be done to save a hero so good-looking, and of adventures so romantic, from the knife of the headsman.

      Mr. Macfarlane, in speaking of Italian banditti, remarks, that the abuses of the Catholic religion, with its confessions and absolutions, have tended to promote crime of this description. But, he adds, more truly, that priests and monks have not done half the mischief which has been perpetrated by ballad-mongers and story-tellers. If he had said play-wrights also, the list would have been complete. In fact, the theatre, which can only expect to prosper, in a pecuniary sense, by pandering to the tastes of the people, continually recurs to the annals of thieves and banditti for its most favourite heroes. These theatrical robbers; with their picturesque attire, wild haunts, jolly, reckless, devil-may-care manners, take a wonderful hold upon the imagination, and, whatever their advocates may say to the contrary, exercise a very pernicious influence upon public morals. In the Memoirs of the Duke of Guise upon the Revolution of Naples in 1647 and 1648, it is stated, that the manners, dress, and mode of life of the Neapolitan banditti were rendered so captivating upon the stage, that the authorities found it absolutely necessary to forbid the representation of dramas in which they figured, and even to prohibit their costume at the masquerades. So numerous were the banditti at this time, that the Duke found no difficulty in raising an army of them, to aid him in his endeavours to seize on the throne of Naples. He thus describes them; (See also "Foreign Quarterly Review," vol. iv. p. 398.)

      "They were three thousand five hundred men, of whom the oldest came short of five and forty years, and the youngest was above twenty. They were all tall and well made, with long black hair, for the most part curled, coats of black Spanish leather, with sleeves of velvet, or cloth of gold, cloth breeches with gold lace, most of them scarlet; girdles of velvet, laced with gold, with two pistols on each side; a cutlass hanging at a belt, suitably trimmed, three fingers broad and two feet long; a hawking-bag