The engine soon gets to grips with its titan task. Over us on the right we see the vast mountains close,--towering upward as a huge wave looms above the swimmer sunk in its trough,--those eternal hills up to the barren fastnesses of which the gallant Cortes and his five hundred climbed four centuries ago, after he had destroyed his boats at Vera Cruz that there might be no looking backward. Slowly we wind round the base of the mountain, then we bend back again on a new spiral till the lights of Orizaba Station twinkle ahead of us instead of behind us. Once more round and the cars tilt outward, outward, till it seems we are at an impossible angle if we are to keep the metals. Two or three more spirals, and we have won this first hill, and here is our next monster; and as we bend round the last of the conquered one you look right across the valley, hundreds of feet deep, to where absolutely opposite is the meagre metal band running round the face of the still higher hill. Talk of horse-shoe curves! So acute seems the bend that one wonders how the most perfect bogey-wheels can take it. But we do take it, till we in the front cars seem to be looking right into the hinder ones where huddle in the dim light Indians as tightly packed as sardines in a tin. The grinding of the brakes; the short sharp pants of the engine, the fierce glare from its opened furnace, the figures of the stokers silhouetted ink-black against the flame-red; the slow creak-creak as the wheels turn and turn again to an ever new curve, make a scene unparalleled. Every few minutes sinister figures, slouch-hatted, scarlet blankets thrown round them to chin-height, men who in the dim light look terrifyingly brigand-like, pass through the cars, in their hands swinging lamps. These are the brake-men--two to a car--upon whose untiring nerve the safety of the train largely hangs.