Bartholemè, the younger Leonardo de Argensola, entered the ecclesiastical state. During the first half of his life, his success in the world was inseparably connected with the fortunes of his brother. He was chaplain to the Empress Maria of Austria, then a canon in Saragossa; and afterwards proceeded to Naples in company with his brother and the Count de Lemos. He quitted Italy on the death of his brother, and was appointed to complete the continuation of the annals of Arragon which Lupercio had left in an imperfect state; a task which he executed in a way that gave universal satisfaction. While the Count de Lemos was president of the council of the Indies, Bartholemè Leonardo de Argensola wrote a history of the conquest of the Molucca islands. He was indefatigable in the pursuit of his historical and poetic studies; and after passing a tranquil and honourable life, he died at Saragossa in 1631, in the sixty-sixth year of his age.[396] The poetry of these two brothers, who, in a critical point of view, may both be regarded as one individual, is not characterized by originality, or by depth of genius, in the extended sense of the word. It is, however, remarkable for a fine poetic feeling distinct from enthusiasm, a vigorous and aspiring spirit, a happy talent for description, poignant wit, classic dignity of style, and above all, singular correctness of taste. Both pursued the same course with equal ardour and adroitness; but Bartholemè had the better opportunity of cultivating his talent, because he lived longest. Next to Luis de Leon, they are the most correct of all Spanish poets. The tragedies with which Lupercio commenced his poetic career, considered as youthful essays, are worthy to be remembered, though they do not merit the unbounded praise which Cervantes bestowed on them in a fit of panegyrical enthusiasm. It appears that they did not long maintain their place on the stage. Two of the three mentioned by Cervantes were, at no very remote period, rescued from oblivion, and the third still remains undiscovered.[397] The two which have been recovered, and which are entitled, the one _Isabella_, and the other _Alexandra_, afford excellent specimens of language and versification. The Alexandra contains scenes, particularly in the second and third acts, which the greatest tragic writer might advantageously adopt and interweave into a better constructed piece.[398] The Isabella is a trivial web of love intrigues, and terminates in a manner sufficiently awful; but the piece is totally destitute of tragic dignity, notwithstanding that it exhibits the languishing and raging of two Moorish kings, with all the pomp of oriental accessaries. Alexandra presents more numerous and correct traits of resemblance to the ancient drama; and yet towards the close the action becomes most extravagant, and is marked by all the tumult of a modern theatrical spectacle.