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require to be comprehended, that we may interpret the character of the objects seen through their medium. None but a native can pronounce with any confidence upon style, affected, as it is, by so many casual and local associations that determine its propriety and its elegance. In the judgment of eminent Spanish critics, the style of Solís claims the merits of perspicuity, copiousness, and classic elegance. Even the foreigner will not be insensible to its power of conveying a living picture to the eye. Words are the colours of the writer, and Solís uses them with the skill of a consummate artist; now displaying the dark tumult of battle, and now refreshing the mind by scenes of quiet magnificence, or of soft luxury and repose.

Solís formed himself, to some extent, on the historical models of Antiquity. He introduced set speeches into the mouths of his personages, speeches of his own composing. The practice may claim high authority among moderns as well as ancients, especially among the great Italian historians. It has its advantages, in enabling the writer to convey, in a dramatic form, the sentiments of the actors, and thus to maintain the charm of historic illusion by never introducing the person of the historian. It has also another advantage, that of exhibiting the author's own sentiments under cover of his hero's,—a more effective mode than if they were introduced as his own. But to one trained in the school of the great English historians, the practice has something in it unsatisfactory and displeasing. There is something like deception in it. The reader is unable to determine what are the sentiments of the characters, and what those of the author. History assumes the air of romance, and the bewildered student wanders about in an uncertain light, doubtful whether he is treading on fact or fiction.

It is open to another objection, when, as it frequently does, it violates the propriety of costume. Nothing is more difficult than to preserve the keeping of the piece, when the new is thus laid on the old,—the imitation of the antique on the antique itself. The declamations of Solís are much prized as specimens of eloquence. But they are too often misplaced; and the rude characters, into whose mouths they are inserted, are as little in keeping with them, as were the Roman heroes with the fashionable wig and sword, with which they strutted on the French stage in Louis the Fourteenth's time.

As to the value of the researches made by Solís in the compilation of his work, it is not easy to speak, for the page is supported by none of the notes and references which enable us to track the modern author to the quarry whence he has drawn his materials. It was not the usage of the age. The people of that day, and, indeed, of preceding times, were content to take the author's word for his facts. They did not require to know why he affirmed this thing or doubted that; whether he built his story on the authority of a friend, or of a foe, of a writer of good report, or of evil report. In short, they did not demand a reason for their faith. They were content to take it on trust. This was very comfortable to the historian. It saved him a world of trouble in the process, and it prevented the detection of error, or at least of negligence. It prevented it with all who did not carefully go over the same ground with himself. They who have occasion to do this with Solís will probably arise from the examination with no very favourable idea of the extent of his researches; they will find that, though his situation gave him access to the most valuable repositories in the kingdom, he rarely ascends to original documents, but contents himself with the most obvious and accessible; that he rarely discriminates between the contemporary testimony, and that of later date; in a word, that, in all that constitutes the scientific value of history, he falls far below his learned predecessor, Herrera,—rapid as was the composition of this last.

Another objection that may be made to Solís is his bigotry, or rather his fanaticism.