The spectacles were safely in their case, and back in the Doctor's pocket. But he now made haste to take them out a second time, he knew of no Tenors in Gracias. When he had adjusted them, "It's only Manuel Ruiz," he said, with both relief and vexation in his tone. He was relieved that it was only Manuel, but vexed that he should have been led, even for a moment, to suppose that it might be some one else, some one who was objectionable (as though objectionable persons could penetrate into their society!); and he asked himself inwardly what the deuce this northerner meant by calling their arrangement of their land "operatic," and their young gentlemen "Tenors." "Manuel Ruiz is the son of an old friend of ours; their place is on Patricio, opposite," he said, frigidly. "The Ruiz family were almost as well known here in the old Spanish days as the Dueros." He had no time for more, for, as Garda had stopped, they now came up with the little party in front. Manuel Ruiz was older than Torres. Manuel was twenty-one. He was a tall, graceful youth, with a mobile face, eloquent dark eyes, and a manner adorned with much gesture and animation. He undoubtedly cherished an excellent opinion of Manuel Ruiz; but undoubtedly also there was good ground for that opinion, Manuel Ruiz being a remarkably handsome young man. That Winthrop should have called him operatic was perhaps inevitable. He wore a short black cloak, an end of which was tossed over one shoulder after the approved manner of the operatic young gentleman when about to begin, under the balcony of his lady-love, a serenade; on his head was a picturesque sombrero, and he carried, or rather flourished, a slender cane, which might have been a rapier; these properties, together with his meridional eyes, his gestures, and the slight tendency to attitude visible in his graceful movements, made him much like the ideal young Tenor of the Italian stage, as he comes down to the foot-lights to sing in deepest confidence, to the sympathetic audience, of his loves and his woes.