man who was so absorbed in his own belief that he was able to impress this upon the skeptics about him. We have before us a vivid picture of the Spanish Court from which, after patient effort, Coltunbus secured the grudging support for his expedition, and we come to know each member of the little crew through whose service the great task was brought to accomplishment. Irving makes clear that the opposition of the clerics and the apathy of King Ferdinand were at last overcome only through the sympathetic support given to the project by Queen Isabella.
In the Conquest of Granada, the narrative is given in a humorous form, but it represents the result of very thorough historic research. By the device of presenting the record through the personality of the mythical priestly chronicler, Fray Agapida, blindly devoted to the cause of the Church, Irving is able to emphasize less invidiously than if the statements were made direct, the bitterness, the barbarism, and the prejudices of the so-called Christianity of the Spaniards. Through the utterances of Agapida, we come to realize the narrowness of Ferdinand and the priestly arrogance of Ferdinand's advisers. The admiration of the reader goes out to the fierce patriotism of the great Moorish leader, El Zagal, and his sympathies are enlisted for the pathetic career of Boabdil, the last monarch of Granada. Granada was Irving's favourite production, and he found himself frankly disappointed that (possibly on the ground of the himaorous form given to the narrative) the book failed to secure full acceptance as history and was not considered by the author's admirers to take rank with his more popular work.
The Alhambra, which has been called the "Spanish Sketch Book," is a beautiful expression of the thoughts and dreams of the author as he muses amid the ruins of the Palace of the Moors. The reader feels that in recording the great struggle which terminated in 1492 with the triumph of Spain, Irving's sympathies are not with the conquering Christians but with the defeated Moslems.
His Life of Mahomet and the supplementary volume on the successors of Mahomet followed in 1849-50. The biographies constitute good narrative and give further examples of the author's exceptional power of characterization. If they fail to
