But dramatic representations in Spain between 1560 and 1590 were by no means confined to what was done by Lope de Rueda, his friends, and his strolling company of actors. Other efforts were made in various places, and upon other principles; sometimes with more success than theirs, sometimes with less. In Seville, a good deal seems to have been done. It is probable the plays of Malara, a native of that city, were represented there during this period; but they are now all lost.[42] Those of Juan de la Cueva, on the contrary, have been partly preserved, and merit notice for many reasons, but especially because most of them are historical. They were represented--at least, the few that still remain--in 1579, and the years immediately subsequent; but were not printed till 1588, and then only a single volume appeared.[43] Each of them is divided into four _jornadas_, or acts, and they are written in various measures, including _terza rima_, blank verse, and sonnets, but chiefly in _redondillas_ and octave stanzas. Several are on national subjects, like “The Children of Lara,” “Bernardo del Carpio,” and “The Siege of Zamora”; others are on subjects from ancient history, such as Ajax, Virginia, and Mutius Scævola; some are on fictitious stories, like “The Old Man in Love,” and “The Decapitated,” which last is founded on a Moorish adventure; and one, at least, is on a great event of times then recent, “The Sack of Rome” by the Constable Bourbon. All, however, are crude in their structure, and unequal in their execution. The Sack of Rome, for instance, is merely a succession of dialogues thrown together in the loosest manner, to set forth the progress of the Imperial arms, from the siege of Rome in May, 1527, to the coronation of Charles the Fifth, at Bologna, in February, 1530; and though the picture of the outrages at Rome is not without an air of truth, there is little truth in other respects; the Spaniards being made to carry off all the glory.[44] [42] Navarrete, Vida de Cervantes, p. 410. [43] L. F. Moratin, Obras, Tom. I. Parte I., Catálogo, Nos. 132-139, 142-145, 147, and 150. Martinez de la Rosa, Obras, Paris, 1827, 12mo, Tom. II. pp. 167, etc. [44] “El Saco de Roma” is reprinted in Ochoa, Teatro Español, Paris, 1838, 8vo, Tom. I. p. 251.