likewise relates the death of Dido after Virgil, and in honour of his king he gives a detailed account of the battle of Lepanto. In addition to the descriptions, some of the speeches, particularly that delivered by the Cacique Colocolo in the second canto,[414] may be referred to as the best parts of this unpoetic poem. Meanwhile the passion for epic poetry, which took possession of so many Spanish writers in the age of Cervantes and Lope de Vega, gave birth to a torrent of heroic poems. To the Caroliads, which have already been noticed, there succeeded _La Restauracion de España_, (the Restoration of Spain), by Christoval de Mesa; _Las Navas de Tolosa_, (the Plains of Toulouse), by the same author; _La Numantina_, by Francisco de Mesquera; _La Invencion de la Cruz_, (the Invention of the Cross), by Lopez Zarate; _Maltea_, by Hyppolyto Sanz; _El Leon de España_, (the Spanish Lion), by Pedro de Vezilla; _Saguntina_, by Lorenzo de Zamora; _Mexicana_, by Gabriel Laso de Vega; _Austriada_, by Rufo Guttieraz; &c. None but men who make this branch of literature their particular study, now think of perusing these and similar patriotic effusions, which were at the period of their publication regarded as epic poems,[415] but which only serve to prove, with the greater certainty, that Spain is incapable of producing a Homer. A genuine subject for epopee was scarcely to be found in the national history of Spain, even during the ages of chivalry; and modern history was not then more susceptible than now of receiving a truly epic form. LYRIC AND BUCOLIC POETS OF THE CLASSIC SCHOOL OF THE SIXTEENTH CENTURY. Lyric and bucolic poetry and also elegant satire, after the two Argensolas had given the tone to that species of composition, continued to be cultivated by various pupils of the classic school of the sixteenth century. This school which was then on the decline in Italy, still maintained its ground in Spain, and preserved its reputation in spite of the opposition made by the different parties who contended for their respective styles, particularly by that of Lope de Vega, and by one of a still more dangerous kind, which will soon be more distinctly noticed. The disciples of this classic school, together with those writers who, since the time of Boscan and Garcilaso de la Vega, had formed their style on the model of the ancients and the most esteemed poets of Italy, may be called the Spanish _Cinquecentisti_, in a favourable sense of the term, though some of them wrote in the seventeenth century. The most distinguished among them really flourished in the sixteenth century; and the rest, whose number is incalculable, possessed, at least, the merit of endeavouring, like the Italian _Cinquecentisti_, to express sensible ideas in correct language.