Prominent among Luzán's followers in the self-constituted Academia del Buen Gusto is BLAS ANTONIO NASARRE Y FÉRRIZ (1689-1751), an industrious, learned polygraph who carried party spirit so far as to reproduce Avellaneda's spurious _Don Quixote_ (1732), on the specific ground that it was in every way superior to the genuine sequel. Cervantes, indeed, was an object of pitying contempt to Nasarre, who, when he reprinted Cervantes' plays in 1749, contended that they not only were the worst ever written, but that they were a heap of follies deliberately invented to burlesque Lope de Vega's theatre. Of the same school is Lope's merciless foe, AGUSTÍN MONTIANO Y LUYANDO (1697-1765), author of two poor tragedies, the _Virginia_ and the _Ataulfo_, models of dull academic correctness. Yet he found an illustrious admirer in the person of Lessing, who, by his panegyric on Montiano in the _Theatralische Bibliotek_, remains as a standing example of the fallibility of the greatest critics when they pronounce judgment on foreign literatures. Even more exaggerated than Montiano was the Marqués de Valdeflores, LUIS JOSÉ VELÁZQUEZ DE VELASCO (1722-72), whom we have already seen ascribing Torre's poems to Quevedo, an error almost sufficient to ruin any reputation. Velázquez expressed his general literary views in his _Orígenes de la Poesía castellana_ (1749), which found an enthusiastic translator in Johann Andreas Dieze, of Göttingen. Velázquez develops and emphasises the teaching of his predecessors, denounces the dramatic follies of Lope and Calderón, and even goes so far as to regret that Nasarre should waste his powder on two common, discredited fellows like Lope and Cervantes. It is impossible for us here to record the polemics in which Luzán's teaching was supported or combated; defective as it was, it had at least the merit of rousing Spain from her intellectual torpor.