Unscrupulously selfish till he had attained his ends, Napoleon III had, nevertheless, curious streaks of disinterestedness in his nature. What but Quixotism impelled him to promise to free Italy from her bondage to Austria? He might add thereby to his personal renown, but the French people, who must pay the bills and furnish the soldiers, were offered no adequate compensation. Whatever his motives, he crossed the Alps in the spring of 1859, joined the Piedmontese, and defeated the Austrians in two great battles. But after Solferino he paused, grew anxious, and drew back. Many reasons were hinted at: he had been horrified at the sight of twelve thousand corpses festering in the midsummer heat on the battlefield; he perceived that the campaign must last many months before the Austrians could be dislodged from the Quadrilateral; he dreaded to create in Italy a kingdom strong enough to be a menace to France; he was worried at the mobilization of the Prussian army, foreboding a war on the Rhine. Motives are usually composite: perhaps, therefore, all these, and others, made him resolve to quit Italy with his mission only half achieved. But of all his schemes, that Italian expedition has alone escaped the condemnation of posterity. Possessing a great talent for scenic display, Napoleon dressed his victories so as to get the fullest spectacular effect from them. He could pose now as the conqueror of Austria, and offset the _gloire_ of his uncle’s Marengo with that of his own Magenta. He had more _bâtons_ and dukedoms to bestow,--more trophies to deposit in the Invalides. The gazettes, the official historians, the court writers, the spell-bound populace, acclaimed the new triumphs. Europe became too small for Imperial France to swagger in. Napoleon the First had meddled in Egypt, and Palestine, and the West Indies; his nephew must do likewise, and seek new worlds to conquer over sea.