On the other hand, more was done with effect to recall the memory of the old masters themselves. Lopez de Sedano, between 1768 and 1778, published his “Spanish Parnassus,” in nine volumes; a work which, though ill digested and not always showing good taste in its selections and criticisms, is still a rich mine of the poetry of the country in its best days, and contains important materials for the history of Spanish literature from the period of Boscan and Garcilasso.[340] Sanchez went further back, and in 1779 offered, to his countrymen, for the first time, the greater legendary treasures of their heroic ages, beginning with the noble old poem of the Cid, but unhappily leaving incomplete a task for which he had proved himself so well fitted by his learning and zeal, if not by his acuteness.[341] And finally, Sarmiento, a friend of Feyjoó, and one of his ablest public defenders, undertook an elaborate history of Spanish poetry, which contains important discussions relating to the period embraced by the inquiries of Sanchez, but which was broken off by the death of its venerable author in 1770, and remained unpublished till five years later.[342] These three works, though they excited too little attention at first, were still works of importance, and have served as the foundation for a better state of things since. [340] J. J. Lopez de Sedano, “Parnaso Español,” (Madrid, Sancha, 1768-78, 9 tom. 12mo,) was the subject, of a good deal of criticism soon after it appeared. The club of the elder Moratin--to be noticed immediately--was much dissatisfied with it (Obras Póstumas de N. F. Moratin, Londres, 1825, 12mo, p. xxv.);--Yriarte in 1778 printed a dialogue on it, “Donde las dan las toman,” full of severity (Obras, 1805, Tom. VI.);--and in 1785 Sedano replied, under the name of Juan Maria Chavero y Eslava de Ronda, in four volumes, 12mo, published at Málaga and called the “Colóquios de Espina.” [341] T. A. Sanchez (born 1732, died 1798) published his “Poesías Anteriores al Siglo XV.” at Madrid, in 4 tom. 8vo, 1779-90, but printed very little else. [342] Martin Sarmiento, “Memorias para la Historia de la Poesía y Poetas Españoles,” Madrid, 1775, 4to. He was born in 1692, and wrote a great deal, but published little. His defence of his master, Feyjoó, (1732,) generally goes with the “Teatro Crítico”; and some of his tracts are to be found in the Seminario Erudito, Tom. V., VI., XIX., and XX. His “Historia de la Poesía,” printed as the first volume of his Works, which were not further continued, is the more valuable, because, making his inquiries quite independently of Sanchez, he often comes to the same results.