Meanwhile a few held out against the mode. The Sevillan, Juan de Arguijo (? d. 1629), continued the tradition of Herrera, writing in Italian measures with a smoothness of versification and a dignified correctness which drew applause from one camp and hissing from the other. His townsman, JUAN DE JÁUREGUI Y AGUILAR (? 1570-1650), came into notice with his version of Tasso's _Aminta_ (1607), one of the best translations ever made, deserving of the high praise which Cervantes bestows on it and on Cristóbal de Figueroa's rendering of the _Pastor Fido_:—"They make us doubt which is the translation and which the original." In his _Aminta_, as in his original poems, Jáuregui's style is a model of purity and refinement, as might be expected from the _Discurso poético_ launched later against Góngora; but the tide was too strong for him. His _Orfeo_ (1624) shows signs of wavering, and in his translation, the _Farsalia_, which was not published till 1684, he is almost as extreme a Gongorist as the worst. Still it should be remembered that Lucan also was a Córdoban, practising early Gongorism at Nero's court, and a translator is prone to reproduce the defects of his original. Jáuregui has some points of resemblance with Rossetti, was a famous artist in his day, and is said, on the strength of a dubious passage in the prologue to the _Novelas_, to have painted Cervantes. ESTEBAN MANUEL DE VILLEGAS (1596-1669) shows rare poetic qualities in his _Eróticas ó Amatorias_ (1617), in which he announces himself as the rising sun. _Sicut sol matutinus_ is printed on his title-page, where those waning stars, Lope, Calderón, and Quevedo, are also supplied with a prophetic motto: _Me surgente, quid istæ?_ His imitations of Anacreon and Catullus are done with amazing gusto, all the more wonderful when we remember that his "sweet songs and suave delights" were written at fourteen, retouched and published at twenty. But Villegas is one of the great disappointments of Castilian literature: he married in 1626, deserted verse for law, and ended life a poor, embittered attorney. The Sevillan canon and royal librarian, FRANCISCO DE RIOJA (? 1586-1659), follows the example of Herrera, his sonnets and _silvas_ being distinguished for their correct form and their philosophic melancholy. But Rioja has been unlucky. One poem, entitled _Las Ruinas de Itálica_, has won for him a very great reputation; and yet, in fact, as Fernández-Guerra y Orbe has proved, the _Ruinas_ is due to Rodrigo Caro (1573-1647), the archæologist who wrote the _Memorial de Utrera_ and the _Antigüedades de Sevilla_. Adolfo de Castro goes further, ascribing the _Epístola moral á Fabio_ to Pedro Fernández de Andrado, author of the _Libro de la Gineta_. Thus despoiled of two admirable pieces, Rioja is less important than he seemed thirty years since; yet, even so, he ranks, with the Príncipe de Esquilache (1581-1658) and the Conde de Rebolledo (1597-1676), among the sounder influences of his time.