In so far as this great mass of verse is really an inheritance from the Middle Ages, it does not belong to the subject of this book. All that it is necessary to do here is to note the fact that it did survive, and did continue to exert an influence. But nothing is more doubtful than the antiquity of the vast majority of the _romances_. The best judges have given up the attempt to class them by age, and indeed that must needs be a hopeless task where poems have been preserved by oral tradition alone, and have therefore been subject to modification by every succeeding generation. The presence of very ancient words is no proof of antiquity, since they may be put in by an imitator. Neither is the mention of comparatively recent events, or of such things as clocks or articles of commerce only known in later times, of itself proof that the framework of the ballad was not ancient when it took its final shape. The _Romances_ were collected very much in the style of the _Minstrelsy of the Scottish Border_, and we all know with what facility remains of popular poetry are found when there is a demand for them, when no critical tests are applied, and when the searchers are endowed with a faculty for verse-writing. The Moorish ballads have been called old, and yet nothing is more certain than that they were the fruits of a literary fashion of the later sixteenth century. The Moor, like the Red Man, became a picturesque figure only when he ceased to be dangerous. Another class of the ballads, those called of chivalry, are full of references showing that the writers were acquainted with Ariosto, and cannot have been written before the middle of the century at the earliest. Where the _romance_ is identical in subject with, and very similar in language to, a passage in the great chronicle of Alfonso the Wise, or other unquestionably mediæval work preserved in writing of known antiquity, it may be accepted as ancient. Where that test cannot be applied, it is safer not to think that the ballad is older than the sixteenth century. In some cases the inspiration can be shown to have been French. The subject of the _Molinero de Arcos_, a popular ballad existing in several versions, was taken from a well-known French farce, _Le Meunier d’Arleux_.