The titles of a number of his principal books, not hitherto given, with dates, are as follows. The dates are those when they were written, and they were generally published shortly after: 'Dona Perfecta,' 1876; 'Gloria,' 1876; 'Torquemada en la Hoguera' (Torquemada at the Stake: 1876); 'Marianela,' 1878; 'La Familia de Leon Roch' (Leon Roch's Family: 1878); 'Los Cien Mil Hijos de San Luis' (The Hundred Thousand Sons of Saint Louis: 1877) of the Episodios; 'Un Faccioso Mas' (A Rebel the More: 1879) the completion of the Episodios; 'La Desheredada' (The Disowned: 1881); 'El Amigo Manso' (Friend Mildman: 1882); 'El Doctor Centeno,' 1883; 'Tormento,' 1884; 'La de Bringas' (That Mrs. de Bringas: 1884); 'Fortunata y Jacinta,' 1886; 'Miau,' 1888; 'La Incognita' (The Unknown: 1889); 'Realidad' (Reality: 1890); 'Angel Guerra,' 1891; 'Torquemada en la Cruz' (Torquemada on the Cross: 1894); 'Torquemada en el Purgatorio' (Torquemada in Purgatory: 1894); 'Torquemada y San Pedro,' 1895; 'Nazarin,' 1895; 'Halma,' 1896. Even in his new departure, Galdos did not at once enter upon his final manner. 'Dona Perfecta,' 'The Family of Leon Roch,' and 'Gloria' are quite distinctly didactic, or "novels with a purpose"; while 'Marianela' is somewhat cloyingly sentimental, a prose poem after the manner of Ouida. In spite of all this, however, 'Dona Perfecta' has been pronounced by many his best work. It is the one that has obtained greatest celebrity abroad, and it is the one, all things considered, likely to be the most satisfactory example of his work to the English reader. 'La Desheredada' marks the transition to his final period, and he has put it upon record that with this book the real difficulties of his vocation began. It is a poignantly affecting story of a poor girl who was brought up, by a parent half knave and half insane, to believe that she was not his daughter but that of a noble house. After his death she undertakes in all good faith to prosecute her claim, and is thrown into prison as an impostor. Her heart is broken by the disillusionment; she cannot adjust herself to life again without the sweetness of that beguiling belief, and so, in the end, not having the boldness to die, she throws herself upon the street, a social outcast. Both in the person of Isidora and others, the book is a moving treatise on false education. Other leading figures are her brother, a young "hoodlum" and thief, the burden of whose career she has also to bear upon her slender shoulders, and the pampered son of the poor Sastres, who have denied themselves bread that he might have an education and luxuries. He has a hundred fine schemes for getting a living, but never a one of them includes turning his hand to a stroke of honest labor.