[153] The “Primera Parte de las Noches de Invierno, por Antonio de Eslava,” was printed at Pamplona in 1609, and at Brussels in 1610, 12mo; but, as was so common in these works of amusement, I believe no second part followed. It is ordered to be expurgated in the Index of 1667, p. 67. [154] “Doce Novelas Morales y Exemplares, por Diego de Agreda y Vargas,” Madrid, 1620; reprinted by one of his descendants, at Madrid, in 1724, 12mo. Diego de Agreda, of whom there is a notice in Baena, (Tom. I. p. 331,) was a soldier as well as an author, and, in the tale he called “El Premio de la Virtud,” relates, apparently, an event in the history of his own family. Others of his tales are taken from the Italian. That of “Aurelio y Alexandra,” for instance, is a _rifacimento_ of Bandello’s story of “Romeo and Juliet,” used at just about the same time by Shakspeare. [155] “Guia y Avisos de Forasteros, etc., por el Licenciado Don Antonio Liñan y Verdugo,” Madrid, 1620, 4to. In a discourse preceding the tales, which are fourteen in number, their author is spoken of as having written other works, and as being an old man; but I find no notice of him except that in Antonio, (Bib. Nov., Tom. I. p. 141,) which gives only the titles of the tales, and mistakes the year in which they were printed. Some of the stories, it may be added, seem true, and some of the sketches of manners are lively. [156] See, _ante_, Vol. II. pp. 156, 157, an account of these tales of Lope, and the way in which four others that are not his were added to them, and yet appear in his collected works, Tom. VIII. [157] Literally, _Pinks_ of Recreation,--“Clavellinas de Recreacion, por Ambrosio de Salazar,” Ruan, 1622, 12mo. He wrote several other Spanish works, printed, as this was, in France, where he was physician to the queen. Antonio, Bib. Nov., Tom. I. p. 68. [158] “Novelas de Francisco de Lugo y Avila,” Madrid, 1622, 12mo. [159] “Novelas Amorosas por Joseph Camerino,” Madrid, 1623 and 1736, 4to. (Antonio, Bib. Nova, Tom. II. p. 361.) He was an Italian, as appears from the hint in Lope de Vega’s sonnet prefixed to his tales, as well as from his own Proemio. His Spanish, however, is pure enough, except in those affectations of style which he shared with many Castilian writers of his time. His “Dama Beata,” a longer tale, was printed at Madrid, in 1655, in 4to.