We have said that De Quincey was an eminent master of the historic art. His power in this direction is signally displayed in his account of 'The Household Wreck,' 'The Spanish Nun,' 'The First Rebellion,' and the 'Flight of a Tartar Tribe.' 'The Household Wreck' is a powerful and dramatic narrative, but the plot is somewhat confused; on the whole, it is decidedly inferior to the 'Spanish Nun.' The nun is a _bona-fide_ historical personage, and her career is delineated with surprising effect. She was the daughter of a Spanish hidalgo, who pitilessly carried her in infancy to the Convent of St. Sebastian, where she remained until the age of fifteen; the quietude of that cloistered life her stormy spirit could no longer brook; she eloped, assumed male attire, became the page of a nobleman, at whose house she saw that 'old crocodile,' her father, who was now searching with mock solicitude for his absconded daughter; exposure was imminent; no safety remained until the ocean divided her from Spain, and her plans were formed at once; the nun embarked for South America, doubled Cape Horn, was shipwrecked on the coast of Peru; finally arrived at Paita; killed a man in a street encounter; escaped death only by promising to marry a lady who had fallen in love with her; once again there was no security but in flight; she joined a cavalry regiment commanded by her own brother, to whom she was unknown; him she unwittingly killed in a midnight duel; then follow the terrific passage of the Andes, the fearful tragedies at Tucuman and Cuzco, her return to Europe in compliance with royal and papal commands; she approaches the port of Cadiz; myriads upon myriads line the shore and cover the houses to catch a glimpse of the martial nun; cardinals and kings and popes hasten to embrace her; the thunders of popular welcome arise wherever she appears; but the nun finds no rest; terrific memories rankle in her bosom, and blast her repose; again she embarks for America; but then, how closed that career, so tragically tempestuous? The nun reached Vera Cruz; she took her seat in the boat to go ashore; no more is known; her fate is concealed in impenetrable mystery; 'the sea was searched for her--the forests were ransacked. The sea made no answer--the forests gave up no sign.' These incidents, which are historical verities, are wrought up into a narrative of absorbing power. In De Quincey's brief sketch of the 'First Rebellion' are found some graphic historical paintings. The following is his description of the panic at Enniscorthy, at the moment when the rebels had carried the place by assault: