A legend of mediæval hagiology tells of the Island of St. Brandon, the retreat of an Irish hermit of the sixth century. Another tale comes down to us from the time of the Caliph Walid, and the invincible Musa, of the “Seven Islands” whither the Christians of Gothic Spain fled under the guidance of their seven bishops, when, in the eighth century, the peninsula passed under the yoke of the victorious Saracens. The Eyrbyggja Saga has a romantic story of Biorn Ashbrandsson, who narrowly escapes in a tempest raised by his enemy, with the aid of one skilled in the black art. After undergoing many surprising adventures, he is finally discovered by voyagers, “in the latter days of Olaf the Saint,” in a strange land beyond the ocean, the chief of a warlike race speaking a language that seemed to be Irish. Biorn warned the voyagers to depart, for the people had evil designs against them. But before they sailed, he took a gold ring from his hand, and gave it to Gudleif, their leader, along with a goodly sword; and commissioned him to give the sword to Kiartan, the son of Thurid, wife of an Iceland thane at Froda, of whom he had been enamoured; and the gold ring to his mother. This done, he warned them that no man venture to renew the search for what later commentators refer to as White Man’s Land. In equally vague form the fancy of lands beyond the ocean perpetuated itself in an imaginary island of Brazil that flitted about the charts of the fourteenth and fifteenth centuries with ever-varying site and proportions, till it vanished in the light of modern exploration. A more definite character has been given to the tale of Madoc, a Welsh prince of the twelfth century. Southey wove into an elaborate epic this legend of the son of Owen Gwyneth, king of North Wales, who, _circa_ A.D. 1170, sailed into the unknown west in search of a resting-place beyond reach of his brother Yorwerth, then ridding himself of all rivals to the throne. He found a home in the New World, returned to Wales for additional colonists to join the pioneer band; and setting sail with them, vanished beyond the western horizon, and was heard of no more. The poet, while adapting it to the purpose of his art, was not without faith in the genuineness of the legend which he amplified into his epic; and notes in the preface appended to it: “Strong evidence has been adduced that he (Prince Madoc) reached America; and that his posterity exist there to this day on the southern branch of the Missouri, retaining their complexion, their language, and in some degree, their arts.” But later explorations have failed to discover any “Welsh Indians” on the Missouri or its tributaries.