Hermosilla, author of a work, ‘Juicio Critico de los principales Poetas Españoles de la ultima era,’ published after his death, Paris 1840, gives in it, as Mr. Ticknor pithily observes, “a criticism of the poems of Melendez so severe that I find it difficult to explain its motive;” at the same time that he gives “an unreasonably laudatory criticism of L. Moratin’s works.” Hermosilla appears to have been a man of considerable learning, but little judgement. His criticisms are generally worthless, and the only excuse for him, with regard to his book, is, that he did not publish it. With regard to Melendez, taking every opportunity to depreciate his merits, he is constantly found constrained to acknowledge them, and sometimes even in contradiction to himself. Thus, having several times intimated, as at p. 31, that the erotic effusions of Melendez only were praiseworthy, he says, at p. 297, when speaking of his Epistles, that they are “his best compositions; thoughts, language, style, tone and versification, all in general are good.” In another part he censures Melendez for his poems addressed to different ladies, especially some to ‘Fanny,’ who appears to have been an Englishwoman; and yet those epistles, addressed to her, on the death of her husband, are among the purest and most elegant specimens that can be pointed out of consolation to a mourner. It is but justice to his editor, Salva, to say, that he has expressed his dissent from these criticisms, though he thought proper to publish the work. 15. Page 73. “The Duke de Frias.” This estimable nobleman, who died in 1850, was descended from the Counts of Haro, one of the three great families of Spain. He was the munificent friend of literary men, and in the case of Melendez extended his protection to the dead, having taken much personal trouble to have his remains removed from the common burying-ground to a vault, where they might not afterwards be disturbed. He also wrote verses occasionally, of which have been preserved, by Del Rio, a ‘Sonnet to the Duke of Wellington,’ and by Ochoa, an ‘Elegy on the Death of his Duchess,’ whose virtues will be found hereafter commemorated by Martinez de la Rosa. 16. Page 76. “Best edition, that by Salvà.” In taking the edition of 1820 for the text, Salvà, in his edition, has exercised much judgement in giving some of the poems as they were originally published, rather than as Melendez afterwards had left them, weakened by over-correction.