“ ... Public opinion is an engine newly introduced into this country; the Spaniards, who are utterly incapable of directing it, have prohibited its use; but they shall now experience its strength and importance.
“ ... When all was quiet in the capital I went to Callao, and hearing that San Martin was in the Roads, waited on him on board his yacht. I found him possessed of correct information as to all that was passing; but he seemed in no hurry to enter the city, and appeared, above all things, anxious to avoid any appearance of acting the part of a conqueror. ‘For the last ten years,’ said he, ‘I have been unremittingly employed against the Spaniards, or rather, in favour of this country, for I am not against any one who is not hostile to the cause of independence. All I wish is that this country should be managed by itself, and by itself alone. As to the manner in which it is to be governed that belongs not at all to me. I propose simply to give the people the means of declaring themselves independent, and of establishing a suitable form of government; after which I shall consider I have done enough, and leave them.’”—Journal of Captain Basil Hall.
[VI.]
In January, 1891, a number of Venezuelans presented the city of New York with a painting commemorative of this deed of arms, in token of their gratitude for honours paid to the memory of their hero, who died an exile in that city.
This painting is thus described in the Tribune:—
“The canvas is 9½ by 15½ feet in size, and was brought to this country mounted and handsomely framed. It represents the famous cavalry manœuvre of General Paez at the battle of Queseras del Medio. In this battle General Paez took 119 men, about half his force, and started to meet the Spanish cavalry. As the latter advanced Paez turned his men in full retreat toward a thicket where he had concealed the rest of his force. At the ambuscade Paez suddenly turned and charged the Spaniards, who fled in terror. The artist has pictured the scene at this moment. The general is mounted on a superb horse, which he has pulled sharply back on its haunches as he gives the order, ‘Vuelvan cara!’ (face about). On one side are his troopers, rough-looking fellows, carrying long-handled spears; their clothing, saddles, trappings, and equipments are all characteristic of their country. In the distance the Spanish cavalry are seen charging, in ignorance of the trap into which they are about to fall. The Venezuelan artist, Michelena, who received his education in Paris, has found abundant room for vivid colouring in the tropical landscape and sky, and the gaudy garments of his figures.”
[VII.]
The following account of the battle of Carabobo was written by an officer of the British legion, and was published in All the Year Round.
“We halted at dusk on the 23rd at the foot of the ridge. The rain fell in torrents all night, and reminded us of the night before Waterloo. Next morning the sky was cloudless when we stood to arms, and presently Bolívar sent us the order to advance. We were moving to get round the enemy’s right flank, where his guns and infantry were partly hidden by trees and broken ground. Bolívar, after reconnoitring, ordered us to attack by a deep ravine between the Spanish infantry and artillery. The enemy’s guns opened fire and our men began to fall. Meantime the Bravos de Apure had advanced within pistol-shot of the Spaniards, and received such a murderous volley from 3,000 muskets that they broke and fled back in disorder upon us.
“It was a critical moment, but we managed to keep our ground till the fugitives had got through our ranks back into the ravine, and then our grenadier company, gallantly led by Captain Minchin, formed up and poured in their fire upon the Spaniards, who were only a few paces from them. Checked by this volley, the enemy fell back a little, while our men, pressing eagerly on, formed and delivered their fire, company after company.