The real opera of Spain is in the shop of the _Barbero_ or in the court-yard of the _Venta_; in truth, good music, whether harmonious or scientific, vocal or instrumental, is seldom heard in this land, notwithstanding the eternal strumming and singing that is going on there. The very masses, as performed in the cathedrals, from the introduction of the pianoforte and the violin, have very little impressive or devotional character. The fiddle disenchants. Even Murillo, when he clapped catgut under a cherub chin in the clouds, thereby damaged the angelic sentiment. Let none despise the genuine songs and instruments of the Peninsula, as excellence in music is multiform, and much of it, both in name and substance, is conventional. Witness a whining ballad sung by a chorus out of work, to encoring crowds in the streets of merry old England, or a bagpipe-tune played in Ross-shire, which enchants the Highlanders, who cry that strain again, but scares away the gleds. Let therefore the Spaniards enjoy also what they call music, although fastidious foreigners condemn it as Iberian and Oriental. They love to have it so, and will have their own way, in their own time and tune, Rossini and Paganini to the contrary notwithstanding. They--not the Italians--are listened to by a delighted semi-Moro audience, with a most profound Oriental and melancholy attention. Like their love, their music, which is its food, is a serious affair; yet the sad song, the guitar, and dance, at this moment, form the joy of careless poverty, the repose of sunburnt labour. The poor forget their toils, _sans six sous et sans souci_; nay, even their meals, like Pliny’s friend Claro, who lost his supper, _Bætican olives and gazpacho_, to run after a Gaditanian dancing-girl. [Sidenote: THE GUITAR.]