In the Italian version, a letter is quoted from the celebrated Metastasio, in which he speaks of the style of Iriarte’s poem as “so harmonious, perspicuous and easy, as to unite the precision of a treatise with the beauties common to poetry.” It is said also that Metastasio further pronounced the poem to be “not only excellent, but to be considered uncommon, in having successfully treated a subject so difficult, and apparently so little adapted to poetry.” It is to be observed that Iriarte had warmly eulogized Metastasio in the book, so as to merit the commendation. The first canto is confined to treating the subject artistically, and will therefore prove less to the taste of the general reader than the other cantos, which are of a more interesting character, and may be read with pleasure by persons who do not understand music as a science. The third canto especially is written with much spirit in its praise, as connected with devotion. The second canto treats of the passions as they may be expressed by music, including martial music. The fourth minutely discusses theatrical music, with its excellences and defects. The fifth explains it, as calculated for the amusement of societies, or individuals in solitude. The poem concludes with pointing out what ought to be the study of a good composer, and by a proposal for the establishment of an academy of music, or scientific body of musicians, anticipating the benefit to science that would result from such an institution. This poem, the ‘Musica,’ and the Epistles, are written in a very favourite style of versification in Spain, denominated the Silva, which consists of lines of eleven syllables, varied occasionally with others of seven, rhyming at the pleasure of the writer. The ‘Literary Fables’ are written in various metres; Martinez de la Rosa observes in upwards of forty different kinds, appropriate to the characteristics of the subjects, which may be more perceptible to a native ear than to a foreigner’s. It is certainly true that this gives a variety to the work which is well suited to the purposes the author had in view. He was wise enough to know that truths hidden in the garb of fiction will often be felt effectually, where grave precepts would not avail, Καὶ τοῦ τι καὶ Βρότων φρενὰς Ὑπὲρ τὸν ἀληθῆ λόγον, Δεδαιδαλμένοι ψεύδεσι ποικίλοις Ἐξαπάτωντι μύθοι, and thus conveyed his lessons in examples, with a moral, which could be quickly understood and easily remembered.