We need say little more. On Dec. 3rd, 1823, the trial of all incriminated in this frightful tragedy took place at Zürich and sentence was pronounced on the following day. Ursula Kündig was sentenced to sixteen years' imprisonment, Conrad Moser and John Peter to eight years, Susanna Peter and John Moser to six years, Heinrich Ernst to four years, Jacob Morf to three, Margaret Jäggli to two years, Barbara Baumann and Casper Peter to one year, and Magdalena Moser to six months with hard labour. The house at Wildisbuch was ordered to be levelled with the dust, the plough drawn over the foundation, and that no house should again be erected on the spot. Before the destruction, however, a pilgrimage of Pietists and believers in Margaret Peter had visited the scene of her death, and many had been the exclamations of admiration at her conduct. "Oh, that it had been I who had died!" "Oh, how many souls must she have delivered!" and the like. _Magna est stultitia et prævalebit._ At a time like the present, when there is a wave of warm, mystic fever sweeping over the country, and carrying away with it thousands of ignorant and impetuous souls, it is well that the story--repulsive though it be--should be brought into notice, as a warning of what this spiritual excitement may lead to--not, indeed, again, maybe, into bloodshed. It is far more likely to lead to, as it has persistently, in every similar outbreak, into moral disorders, the record of which, in the case of Margaretta Peter, we have passed over almost without a word. Authority: Die Gekreuzigte von Wildisbuch, von J. Scherr, 2nd Edit., St. Gall. 1867. Scherr visited the spot, collected information from eye-witnesses, and made copious extracts from the records of the trial in the Zürich archives, where they are contained in Vol. 166, folio 1044, under the heading: "Akten betreffened die Gräuel--Scenen in Wildisbuch." A Northern Raphael. Here and there in the galleries of North Germany and Russia may be seen paintings of delicacy and purity, delicacy of colour and purity of design, the author of which was Gerhard von Kügelgen. The majority of his paintings are in private hands; but an Apollo, holding the dying Hyacinthus in his arms, is in the possession of the German Emperor; Moses on Horeb is in the gallery of the Academy of Fine Arts at Dresden; a St. Cæcilia and an Adonis, painted in 1794 and 1795, were purchased by the Earl of Bristol; a Holy Family is in the Gallery at Cassel; and some of the sacred subjects have found their way into churches. In 1772, the wife of Franz Kügelgen, a merchant of Bacharach on the Rhine, presented her husband with twin sons, the elder of whom by fifteen minutes is the subject of this notice. His brother was named Karl. Their resemblance was so great that even their mother found a difficulty in their early childhood in distinguishing one from the other.