The ascendency which Spain then had in Europe was, in one sense, well deserved. It was an ascendency which had been gained by unquestioned superiority in all the arts of policy and of war. In the sixteenth century, Italy was not more decidedly the land of the fine arts, Germany was not more decidedly the land of bold theological speculation, than Spain was the land of statesmen and of soldiers. The character which Virgil has ascribed to his countrymen might have been claimed by the grave and haughty chiefs, who surrounded the throne of Ferdinand the Catholic, and of his immediate successors. That majestic art, “regere imperio populos,” was not better understood by the Romans in the proudest days of their republic, than by Gonsalvo and Ximenes, Cortes and Alva. The skill of the Spanish diplomatists was renowned throughout Europe. In England the name of Gondomar is still remembered. The sovereign nation was unrivalled both in regular and irregular warfare. The impetuous chivalry of France, the serried phalanx of Switzerland, were alike found wanting when brought face to face with the Spanish infantry. In the wars of the New World, where something different from ordinary strategy was required in the general and something different from ordinary discipline in the soldier, where it was every day necessary to meet by some new expedient the varying tactics of a barbarous enemy, the Spanish adventurers, sprung from the common people, displayed a fertility of resource, and a talent for negotiation and command, to which history scarcely affords a parallel. The Castilian of those times was to the Italian what the Roman, in the days of the greatness of Rome, was to the Greek. The conqueror had less ingenuity, less taste, less delicacy of perception than the conquered; but far more pride, firmness, and courage, a more solemn demeanour, a stronger sense of honour. The subject had more subtlety in speculation, the ruler more energy in action. The vices of the former were those of a coward; the vices of the latter were those of a tyrant. It may be added, that the Spaniard, like the Roman, did not disdain to study the arts and the language of those whom he oppressed. A revolution took place in the literature of Spain, not unlike that revolution which, as Horace tells us, took place in the poetry of Latium: “Capta ferum victorem cepit.” The slave took prisoner the enslaver. The old Castilian ballads gave place to sonnets in the style of Petrarch, and to heroic poems in the stanza of Ariosto, as the national songs of Rome were driven out by imitations of Theocritus, and translations from Menander.