The literary execution of the work is not its least remarkable feature. Instead of the desultory and gossiping style of the Castilian chronicler, every page is instinct with the spirit of the ancient classics. Indeed, Mendoza is commonly thought to have deliberately formed his style on that of Sallust; but I agree with my friend Mr. Ticknor, who, in a luminous criticism on Mendoza, in his great work on Spanish Literature, expresses the opinion that the Castilian historian formed his style quite as much on that of Tacitus as of Sallust. Indeed, some of Mendoza's most celebrated passages are obvious imitations of the former historian, of whom he constantly reminds us by the singular compactness and energy of his diction, by his power of delineating a portrait by a single stroke of the pencil, and by his free criticism on the chief actors of the drama, conveyed in language full of that practical wisdom which, in Mendoza's case, was the result of a large acquaintance with public affairs. We recognize also the defects incident to the style he has chosen--rigidity and constraint, with a frequent use of ellipsis, in a way that does violence to the national idiom, and, worst of all, that obscurity which arises from the effort to be brief. Mendoza hurts his book, moreover, by an unseasonable display of learning, which, however it may be pardoned by the antiquary, comes like an impertinent episode to break the thread of the narrative. But, with all its defects, the work is a remarkable production for the time, and, appearing in the midst of the _romantic_ literature of Spain, we regard it with the same feeling of surprise which the traveller might experience who should meet with a classic Doric temple in the midst of the fantastic structures of China or Hindostan. Not long after Mendoza had completed his history, he obtained permission to visit Madrid, not to reside there, but to attend to some personal affairs. He had hardly reached the capital when he was attacked by a mortal illness, which carried him off in April, 1575, in the seventy-third year of his age. Shortly before his death he gave his rich collection of books and manuscripts to his obdurate master, who placed them, agreeably to the donor's desire, in the Escorial, where they still form an interesting portion of a library of which so much has been said, and so little is really known by the world.