FORE:Mlas, who had been besieging Genoa, had left part of his army to reduce that city, defended by a strong French division under Massena and Soult, and advanced to Nice, which he had entered, and was contemplating his descent on Provence, when the news of Buonaparte's entrance of Piedmont reached him. He directed his march now to meet him. In the meantime, Massena and Soult, worn out by famine, the fort being blockaded by Admiral Lord Keith, had surrendered Genoa to General Otto, whom Mlas had ordered to raise the siege and join him. Mlas summoned his scattered forces to make head against Buonaparte, and was himself pursued from the neighbourhood of Nice by Suchet. Buonaparte deceived Mlas by false movements, making him imagine that his object was Turin, and so entered Milan in triumph on the 2nd of June. After various encounters and man?uvres between Buonaparte and Mlas, the First Consul crossed the Po at Piacenza, drove back the advanced guard of the Austrians, and took up a position on the plains of Marengo, on the right bank of the little stream, the Bormida, and opposite to Alessandria, where Mlas was lying. The next daythe 14th of JuneMlas drew out his forces, and attacked the French with great spirit. The Austrians amounted to about forty thousand, including a fine body of cavalry, for which the ground was highly[477] favourable; the French were not more than thirty thousand, posted strongly in and around the village of Marengo, in three divisions, each stationed about a quarter of a mile behind the other. After two or three attempts the Austrians drove the French out of the village of Marengo, threw the second division, commanded by Lannes, into confusion, and put to rout the left wing of Buonaparte's own division, threw his centre into disorder, and compelled him to retreat as far as St. Juliano. The whole tide of battle was running against Buonaparte, and a short time must have completed his rout, when the strength of the old general, Mlasmore than eighty years of agegave way, for he had been many hours on horseback. He retired from the field quite secure of the victory, and left General Zach to finish it. But, at this moment, General Desaix, who had lately arrived from Egypt, and had been sent by Buonaparte to make a diversion at Rivolta, came back with his detachment of twenty thousand men. Kellermann, also, who was posted in the rear with a body of reserve, marched up at the same time. A new and desperate charge was made on the fatigued Austrians, and they were broken and put to the rout. They retreated across the Bormida, towards Alessandria, in a panic, the horse galloping over the infantry. Mlas, dispirited by his defeat, but more by his age, gave up the struggle and on the 16th of June concluded an armistice, resigning not only Alessandria, where he might have stood a longer siege, but Genoa, which had just surrendered to the Austrians, and all the Genoese territory, agreeing to retire behind the line of Mantua and the Mincio, and leaving to the French all Lombardy as far as the Oglio. The French themselves could scarcely believe the reality of such a surrender.Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.
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