MANUEL JOSÉ DA SILVA PINTO (1848-1911) in _Combates e Criticas_ (1882), _Frente a frente_ (1909), and _Na procella_ (1909). Equally vigorous and pure was the style of JOAQUIM DE SENNA FREITAS (1840-1913) in _Per agoa e terra_ (1903) and _A Voz do Semeador_ (1908), as likewise that of FRANCISCO SILVEIRA DA MOTA in _Viagens na Galliza_ (1889). The literature of travel is not extensive. Oliveira Martins published in the _Jornal do Commercio_ of Rio de Janeiro in 1892 his _A Inglaterra de hoje_ (1893); Eça de Queiroz showed a deeper acquaintance with England in his _Cartas de Inglaterra_ (1905). Snr. WENCESLAU JOSÉ DE SOUSA MORAES (born in 1854), sometimes called the Portuguese Pierre Loti, has skilfully described China and Japan in _Traços do Extremo Oriente_ (1905), _Paisagens da China e do Japão_ (1906), and _Cartas do Japão_ (three series, 1904-7). In a letter in French at the end of his _Traços_ he says: _J’ai dit ce que je pensais, naïvement, au gré de mes souvenirs._ Snr. MANUEL TEIXEIRA GOMES, versatile and gifted, traveller, diplomatist (Portuguese Minister at the Court of St. James), and author, is essentially an artist. With a clear, coloured, liquid style he excels in painting the blue seas, transparent air, and sun-burnt soil of Algarve in _Agosto Azul_ (1904). His pagan and unconventional art has the power of impressing incidents on the mind, as of giving sharp relief to fantastic persons such as the Canon and his three witless sisters in _Gente Singular_ (1909), the Danish literary lady in _Inventario de Junho_ (1899), or the avaricious Dona Maria and the inane Minister of _Sabina Freire_ (1905). This ‘comedy in three acts’ contains sufficient shrewdness, humour, and clever characterization for a long novel instead of a short play. The tiny volumes _Tristia_ (1893) and _Alem_ (1895) by Snr. ANTERO DE FIGUEIREDO (born in 1867) were notable for their style, and in other works, _Partindo da Terra_ (1897), the passionate letters of _Doida de Amor_ (1910), the novel _Comicos_ (1908), and the fascinating historical studies _D. Pedro e D. Inês_ (1913) and _Leonor Teles, Flor de Altura_ (1916), his prose maintains a restraint and charm which place him among the best stylists of the day. One of the noblest qualities of this prose is its precision, the scrupulous use of the right word, common or archaic. It is the more disconcerting to find good Portuguese words such as _estação_, _hospedaria_, _comodo_, _bondade_ ousted by _gare_, _hôtel_, _confortavel_, _bonomia_. But these are only occasional blemishes in a style of rare distinction. It can paint a whole scene in a brief sentence, as _os milheiraes amarellecem-se caladamente_. This power of description gives excellence to his _Recordações e Viagens_ (1905), whether the recollections be of Minho or of _uma aldeia espiritual_ in Italy. It is really as a writer of short sketches and essays that he excels. In _Senhora do Amparo_ (1920) and especially in the seventeen