But notwithstanding the fortunate circumstances which combined to revive the taste for historical composition in Spain, the noble authors of the Spanish chronicles in very few instances rose above the vulgar chronicle style. They faithfully adhered to the language of the historical books of the bible. In nothing is their poetic talent disclosed, except in a better choice of expression, than is to be found in the common chronicles, which were in general written by monks. Spirited and adequate historical description was totally unknown to them. They all wrote in nearly the same manner. Facts were heaped on facts, in long monotonous sentences, which uniformly commenced with the conjunction _and_. Occasionally, indeed, the writers of these chronicles seem to have made attempts to imitate the ancient historians; for at every favourable opportunity little speeches are put into the mouths of the characters they record; but these speeches are given either in the language of scripture or the law. Thus wrote the illustrious Perez de Guzman, who was celebrated among the poets of his age; and thus wrote the grand Chancellor of Castile, Pedro Lopez de Ayala, who is better known than the former as an historian, in consequence of having compiled from ancient chronicles a connected history of the kings of Castile of the fourteenth century.[133] An agreeable surprise is, however, excited in discovering among these chronicles some biographical works, one of which was probably written in the last years of the fourteenth century, and another, doubtless, belongs to the fifteenth. These two productions deserve to be noticed, but in a rhetorical point of view neither can be very highly estimated. The first is the history of Count Pedro Niño de Buelna, one of the bravest knights of the reign of Henry III. The author is Gutierre Diez de Games, who was the Count’s standard-bearer.[134] The gothic taste of the age, it must be confessed, is sufficiently apparent in this history. The chivalrous author begins by apostrophizing the Trinity and the Holy Virgin. He then reasons methodically on virtue and vice, according to the scholastic notions of morality. It is, however, easy to perceive that the author has taken great pains to avoid the dry chronicle style. He evidently wished to give to the history of his hero the interest of a romance. He did not, therefore, confine himself very scrupulously to historical truth, and he has even blended fabulous stories in his narrative. But on the other hand he paints real events with a degree of spirit of which no example is to be found in the chronicles; and some of his descriptions are so remarkable for precision, and accuracy of expression, that they might be mistaken for the production of a modern writer, if the simplicity of the ideas did not betray the age to which the chivalrous author belonged.[135]