We must, therefore, place _The Virginians_ below _Esmond_ in the order of merit. Nevertheless, these two novels, with _Barry Lyndon_, are most important and valuable contributions to the English historical series. Nothing like them had been written before, and nothing equal has been written after them, with the single exception of _John Inglesant_. They possess one essential quality that ought to distinguish all fiction founded on the history of bygone times--they are, so far as posterity can judge at all, faithful and effective representations of manners. Now, the inferior practitioner in this particular school, being prevented by indolence or incapacity from mastering his period and acquiring insight into its ways of thought and living, is too often content to cover up his deficiencies by indenting freely on the theatrical wardrobe and armoury. He deals largely in the costumes of the day; he supplies himself plentifully with old-fashioned phrases; he is fond of old furniture; he is strongest, in fact, upon the external and decorative aspect of the society to which he introduces us. Most of the romances written in imitation of Scott had this tendency; and this same feebleness underlies the superfluous minuteness of detail that may be observed in the decadent realists of the present day. Nothing of this sort can be alleged against Thackeray, who works from inward outwardly in his creations of character, and whose personages are truly historical in the sense that they move and speak naturally according to the ideas and circumstances of their age, the dialect and dress being merely added as appropriate colouring. It is, indeed, a peculiarity of Thackeray's novels, which distinguishes him alike from the romancer and the modern naturalist that they contain hardly any description, that he is never professedly picturesque, that he relies entirely on passing strokes and effective details given by the way. In Scott we have superb descriptive pieces of scenery, of storms, of the interiors of a castle or a Gothic cathedral; and some of the best living novelists are much given to elaborate landscape painting. But we doubt whether half a page of deliberately picturesque description can be found in any of Thackeray's first-class works. He will sometimes sketch off the inside of a house or the look of a town, but with natural scenery he does not concern himself; he is, for the most part, entirely occupied with the analysis of character, or with the emotional side of life; and he seems constantly to bear in mind the Aristotelian maxim that life consists in action. His principal instrument for the exhibition of motive, for the evolution of his story, for bringing out qualities, is dialogue, which he manages with great dexterity and effect, giving it point and raciness, and avoiding the snare--into which recent social novelists have been falling--of insignificance and prolixity. The method of easy,