It will be long, however, before this “great fact” is believed within the sound of Bow-bells, where many of those who provide the reading public with correct information, dislike having to eat their own words, and to have their settled opinions shaken or contradicted. Nor is it pleasant at a certain time of life to go again to school, as one does when studying Niebuhr’s Roman History, and then to find that the alphabet must be re-begun, since all that was thought to be right is in fact wrong. Distant Spain is ever looked at through a telescope which either magnifies richness and goodness, from which half at least must be deducted according to the proverb, _de los dineros y bondad, se ha de quitar la mitad_, or darkens its dangers and difficulties through a discoloured medium. A bad name given to a dog or country is very adhesive; and the many will repeat each other in cuckoo-note. “Il y a des choses,” says Montesquieu, “que tout le monde dit, parcequ’elles ont été dites une fois;” thus one silly sheep makes many, who will follow their leader; _ovejas y bobas, donde va una, van todas_. So in the end error becomes stamped with current authority, and is received, until the false, imaginary picture is alone esteemed, and the true, original portrait scouted as a cheat. [Sidenote: EXAGGERATED ROBBER NOTIONS.] It has so long and annually been considered permissible, when writing about romantic Spain, to take leave of common sense, to ascend on stilts, and converse in the Cambyses vein, that those who descend to humble prose, and confine themselves to commonplace matter-of-fact, are considered not only to be inæsthetic, unpoetical, and unimaginative, but deficient in truth and power of observation. The genius of the land, when speaking of itself and its things, is prone to say the thing which is not; and it must be admitted that the locality lends itself often and readily to misconceptions. The leagues and leagues of lonely hills and wastes, over which beasts of prey roam, and above which vultures sulkily rising part the light air with heavy wing, are easily peopled, by those who are in a prepared train of mind, with equally rapacious bipeds of Plato’s unfeathered species. Rocky passes, contrived as it were on purpose for ambuscades, tangled glens overrun with underwood, in spite of the prodigality of beauty which arrests the artist, suggest the lair of snakes and robbers. Nor is the feeling diminished by meeting the frequent crosses set up on classically piled heaps, which mark the grave of some murdered man, whose simple, touching epitaph tells the name of the departed, the date of the treacherous stab, and entreats the passenger, who is as he was, and may be in an instant as he is, to pray for his unannealed soul. A shadow of death hovers over such spots, and throws the stranger on his own thoughts, which, from early associations, are somewhat in unison with the scene. Nor is the welcome of the